Terebess Asia Online (TAO)

R. H. Blyth on Bash
Bash by R. H. Blyth
in: Haiku, Hokuseido, 1951, pp. 3283!.
Bash by R. H. Blyth
in: A History of Haiku, Volume 1: From the Beginnings up to Issa, "he Hokuseido #$ess,
19!3, pp. 1%529.
Bash by R. H. Blyth
in: Haiku, Hokuseido, 1951, pp. 3283!.
"he$e a$e th$ee &$eat na'es in the histo$y o( haiku, Bash), Buson and *ssa+ ,e 'ay in-lude a
(ou$th, .hiki. Bash) is the $eli&ious 'an, Buson the a$tist, *ssa the hu'anist. Bash) is
-on-e$ned ,ith /od as he sees hi'sel( in the 'ind o( the poet be(o$e (lo,e$s and (ields.
Buson deals ,ith thin&s as they e0ist by and (o$ the'sel1es, in thei$ o,n $i&ht. *ssa is
-on-e$ned ,ith 'an, 'an the ,eak an&el+ ,ith bi$ds and beasts as they st$u&&le like us to
'ake a li1in& and keep thei$ heads abo1e ,ate$. *( ,e do not be&in ,ith Bash), ou$
inte$p$etation o( haiku is bound to la-k depth. "he ob2e-ti1ity o( Buson and the sub2e-ti1ity o(
*ssa both sp$in& ($o' the ho'ely little 'an ,ith lon& eyeb$o,s and a bad di&estion.
*t is t$ue$ in 3apanese poet$y than in any othe$, that (o$ the unde$standin& o( it ,e need to
unde$stand the poet. *t) 3insai
1
said,
4he$e the tea-he$ is, the$e is t$uth+ $espe-t (o$ the tea-he$ is $espe-t (o$ t$uth.
4hen the$e(o$e ,e -o'e to Bash), ,e do so be-ause he is the 4ay, the "$uth and the 5i(e.
6pa$t ($o' hu'an bein&s, the$e is no Buddha. 7e1e$theless, the$e is to be no i'itation o(
8h$ist o$ any othe$ pe$son, no i'itation o( any tea-he$. *n Bash)9s o,n ,o$ds,
:o not (ollo, in the (ootsteps o( the 6n-ients+ seek ,hat they sou&ht.
6s ,ith 4o$ds,o$th, piety ,as the (oundation o( both Bash)9s -ha$a-te$ and o( his lite$a$y
,o$k. "o hi' 'o$e than to any othe$ o$iental poet do /ensei9s
2
,o$ds apply+
By 'akin& (aith(ulness and (ilial piety the (unda'ental, and &i1in& lite$a$y ,o$k a se-onda$y
pla-e, poet$y is p$o(ound.
4e 'ay -o'pa$e ,hat 4o$ds,o$th says:
"o be in-apable o( a (eelin& o( poet$y, in 'y sense o( the ,o$d, is to be ,ithout lo1e o(
hu'an natu$e and $e1e$en-e (o$ /od.
Bash) (elt that li(e ,as not deep enou&h, not -ontinuous enou&h, and he ,anted to &i1e e1e$y
a-tion, e1e$y 'o'ent the 1alue that it potentially had. He ,anted the little li(e ,e lead to be
at the sa'e ti'e the &$eate$ li(e. ;1e$y (lo,e$ ,as to be the sp$in&, e1e$y pain a bi$th pan&,
e1e$y 'an a haiku poet, ,alkin& in the 4ay o( Haiku.
*t ,as the li(e o( the little day, the li(e o( little people. 6nd the 'an ,ho had died said to
hi'sel(, <nless ,e en-o'pass it in the &$eate$ day, and set the little li(e in the -i$-le o( the
&$eate$ li(e, all is disaste$.
3
4hat is this &$eate$ li(e, and ho, is the little li(e to be $elated to it= >$, to put the ?uestion in a
'o$e p$osai- but 'o$e pe$tinent (o$', ,hat is the so-ial 1alue o( haiku= 4hen ,e -o'pa$e
the li(e o( Bash) espe-ially, o$ o( any othe$ &$eat haiku poet, ,ith those o( 4o$ds,o$th,
@ilton, .helley, Aeats, and so on, ,e a$e st$u-k by one (a-t o( see'in&ly little i'po$tan-e,
that the 3apanese haiku poets all had dis-iples+ the ;n&lish poets none. "his is a 'atte$ o( the
&$eatest si&ni(i-an-e, (o$ it is 2ust he$e, in this $eli&ious attitude, that the little, p$osai- li(e o(
little people 'ay be set in the &$eate$, the poeti- li(e.
Winter seclusion:
Once again I will lean against
This post.
Bash)
He$e, and he$e only, is the little li(e set in the -i$-le o( the &$eate$, the o$dina$y in the
e0t$ao$dina$y, the -o''onpla-e in the 'i$a-ulous, the 'ate$ial in the spi$itual, the hu'an in
the di1ine. "o sit on the (loo$ and lean one9s ba-k a&ainst a post 'ay not seen the a-'e o(
-o'(o$t, but this is the pleasu$e Bash) is p$o'isin& hi'sel(. :u$in& the ,inte$, ,hile the
sno, is silently (allin&, he ,ill lean a&ainst the post as he did last yea$, $eadin& and ,$itin&
poet$y, thinkin&
Thoughts that wander through eternity,
th$ou&h our ete$nity, th$ou&h the &$eate$ li(e. "his post, $ubbed s'ooth ,ith -ountless 1i&ils,
bla-k ,he$e his head $ested a&ainst it, is all he asks (o$.
"he 4ay o( Haiku $e?ui$es not only a B$an-is-an po1e$ty, but this -on-ent$ation o( all the
ene$&ies o( 'ind and body, a pe$petual sinkin& o( onesel( into thin&s. Bash) tells us, and it is
to be noted, ,e belie1e hi':
The autumn full moon:
All night long
I paced round the lake.
6ll ni&ht &aCin& at the 'oon, and only this poo$ 1e$se to sho, (o$ it= But it 'ust be
$e'e'be$ed that Bash) ,as a tea-he$. 6nd thus ,e too, ,hen ,e look at the 'oon, look at it
,ith the eyes o( Bash), those eyes that &aCed at that 'oon and its $e(le-tion in the pla-id
,ate$ o( the lake. Buson says,
Spreading a straw mat in the field,
I sat and gazed
At the plum lossoms.
"his sittin& and lookin& at a (lo,e$in& t$ee is not ?uite so si'ple and easy as it appea$s.
Buson, besides bein& a poet, ,as an a$tist, and ,as e0p$essin& in silen-e and 'otionlessness
the poeti- and a$tisti- 'eanin& o( this plu' t$ee D(o$ this is the 'eanin& o( &aCin&E.
>ne o( Bash)9s haiku ,hi-h illust$ates both this plain se1e$ity o( li(e and his tende$ a((e-tion
(o$ his pupils is the (ollo,in&:
The eginning of spring:
!or the new year,
!i"e sh# of rice from last year.
6t Buka&a,a, Bash)9s dis-iples, espe-ially .a'pu, b$ou&ht hi' all the ne-essities o( li(e. He
had in the house a la$&e &ou$d ,hi-h ,ould hold (i1e sh) D1 sh)F3.18 pintsF1,8 lit$esE, "he
happiness o( the 7e, Gea$ is the $e'e'b$an-e o( the (idelity and a((e-tion o( his pupils,
sy'boliCed in the $i-e $e'ainin& o1e$ ($o' the yea$ be(o$e. 6 si'ila$ 1e$se is:
PUTTING ON A SILK GARMENT THAT RANSETSU GAVE ME FOR THE NEW YEAR
The first morning of spring.
I feel like
Someone else.
5ite$ally, 4ho' do * look like= Bash)9s la-k o( a((e-tation is sho,n also in the (ollo,in&:
ANSWERING KIKAKU'S POEM ABOUT TADE (SMARTWEED) AND THE FIREFLY
I am one
Who eats his reakfast,
$azing at the morning%glories.
"his ,as Bash)9s $eply to:
A firefly&
I partake of the smart%weed,
In my hermitage.
Aikaku
Aikaku 'eans that, like the (i$e(ly, he p$e(e$s the ni&ht, and has e--ent$i- tastes, en2oyin& the
bitte$ (la1ou$ o( the s'a$t,eed that othe$ people dislike. Bash) says that the t$ue poeti- li(e is
not he$e, but in eatin& one9s $i-e and pi-kles (o$ b$eak(ast and &aCin& at ,hate1e$ natu$e and
the seasons b$in& us.
*t ,ould be 2ust as ha$d to think o( Bash) li1in& in a((luen-e o$ as e1en 'ode$ately ,ello((,
as it ,ould to i'a&ine .t. B$an-is a $i-h 'an. Bash) li1ed a li(e 1e$y si'ila$ to that o( @e&
@e$$ilies:
'o reakfast had she many a morn,
'o dinner had she many a noon,
And (stead of supper she would stare
!ull hard against the moon.
8ho$a &i1es us a pi-tu$e o( Bash),Hho, di((e$ent ($o' that o( the a1e$a&e ;u$opean poet:
In tra"elling attire,
A stork in late autumn rain:
The old master )ash#.
"he (i$st poe' in the Nozarashi Diary sho,s us Bash)9s idea o( the no$'al state o( the poet,
little di((e$ent ($o' that o( the as-eti-. "he end p$oposed is not di((e$ent ($o' that ideal ,hi-h
Aeats held up be(o$e hi'sel(, but the 'eans a$e poles apa$t:
*esigned to death y e+posure,
,ow the wind
-uts through me.
#$epa$ed to die by the $oadside, he sets out on his 2ou$ney. 4hy did he not stop at ho'e, i( not
in -o'(o$t, at least out o( the ,ind and $ain= Bo$ se1e$al $easons. 4ithout -onta-t ,ith thin&s,
,ith -old and hun&e$, $eal poet$y is i'possible. Bu$the$, Bash) ,as a 'issiona$y spi$it and
kne, that all o1e$ 3apan ,e$e people -apable o( t$eadin& the 4ay o( Haiku. But beyond this,
2ust as ,ith 8h$ist, Bash)9s hea$t ,as tu$ned to,a$ds po1e$ty and si'pli-ity+ it ,as his (ate,
his lot, his destiny as a poet.
The year%end fair:
I would like to go out and uy
Some incense%sticks.
"he 'odesty o( Bash)9s desi$es is e1ident in this 1e$se. 7othin& -ould be -heape$, o$ 'o$e
-hee$less, by o$dina$y standa$ds.
Bash)9s sy'pathy ,ith ani'ate thin&s did not a$ise ($o' any theo$y o( the unity o( li(e, no$
($o' an innate lo1e o( li1in& thin&s. *t ,as st$i-tly poeti-, and (o$ this $eason ,e (ind it pa$tial
and li'ited, but sin-e$e. *t sp$in&s, as is seen in the indi1idual -ases ,he$e it is e0p$essed,
($o' a deep e0pe$ien-e o( a pa$ti-ula$ -ase. Bash) ,as on-e $etu$nin& ($o' *se, the ho'e o(
the &ods, to his nati1e pla-e o( sad 'e'o$ies. #assin& th$ou&h the lonely (o$est, the -old $ain
patte$in& on the (allen lea1es, he sa, a s'all 'onkey sittin& huddled on a bou&h, ,ith that
sub'issi1e pathos ,hi-h hu'an bein&s -an ha$dly attain to. 6ni'als alone possess it. He
said:
!irst winter rain:
The monkey also seems
To want a small straw cloak.
He ,as p$ese$1ed ($o' any senti'entality about ani'als by the (a-t that his o,n li(e ,as (ull
o( dis-o'(o$t, ,hi-h he sa, as ine1itable, and, in a sense, desi$able.
"he &entleness o( Bash), D,ho ,as a sa'u$ai by bi$thE is a 1e$y spe-ial ?uality. 4e 'ay
pe$haps -o'pa$e hi' to 8hau-e$, o( ,ho' "ho$eau says:
4e a$e te'pted to say that his &enius ,as (e'inine, not 'as-uline. *t ,as su-h a
(e'inineness, ho,e1e$, as is $a$est to (ind in ,o'an, thou&h not the app$e-iation o( it+
pe$haps it is not to be (ound at all in ,o'an, but is only the (e'inine in 'an.
Bash) ,as not a &$eat poeti-al &enius by bi$th. :u$in& the (i$st (o$ty yea$s o( his li(e he ,$ote
no 1e$se that -ould be -alled $e'a$kable, o$ e1en &ood. <nlike his -onte'po$a$y >nitsu$a,
,ho ,as 'atu$e at t,enty (i1e, Bash) 'ade his ,ay into the deepest $eal' o( poet$y by shee$
e((o$t and study, study he$e 'eanin& not 'e$e lea$nin&, but a -on-ent$ation on the spi$itual
'eanin& o( the -ultu$e he had inhe$ited in haikai. *ndeed, ,e 'ay say that (e, 'en ha1e been
so $eally -ultu$ed as Bash) ,as, ,ith his unde$standin& o( 8on(u-ianis', "aois', 8hinese
#oet$y, 4aka, Buddhis', Ien, #aintin&, the 6$t o( "ea. *n Oi no o!umi, he ,$ites:
.ai&y)9s ,aka, .)&i9s $en&a, .esshu9s paintin&, Rikyu9s "ea,Hthe spi$it ani'atin& the' is
one.
<nde$ Ai&in, 1!231J%5, Bash) p$obably studied the "any#shu, the okinshu, the $hin
okinshu, the %en&imonogatari, the 'osa Diary, the 'surezuregusa and .ai&y)9s ,aka in his
$ankashu( >the$ haiku poets also studied .ai&y), e.&. the 1e$se o( .)in, ,$itten on a pi-tu$e o(
.ai&y):
This ,#shi(s appearance,
In the e"ening,
Is that of autumn.
"he$e a$e a &$eat nu'be$ o( haiku -on-e$nin& .ai&y), and not a (e, o( Bash)9s $e(e$$in& to o$
based on .ai&y)9s ,aka. Bash)9s inte$est in these ,as due to thei$ appa$ent ob2e-ti1ity but $eal
sub2e-ti1ity, thei$ yugen, thei$ pain(ul (eelin&, a$tist$y, pu$ity. @o$e than the 8hinese poets, he
ad'i$ed .ai&y) (o$ his li(e o( po1e$ty and ,ande$in&, his deep (usion o( poet$y and $eli&ion.
4ith t$uly 3apanese &enius, he did not 'e$ely $ead and $epeat the ,o$ds and ph$ases o( these
'en, but put thei$ spi$it into p$a-ti-e in his daily li(e. "he$e is a (a$o(( but deep $ese'blan-e
he$e bet,een Bash) and 3ohnson, t,o utte$ly di((e$ent types o( 'en, ,ho yet both hold a
position in the histo$y o( lite$atu$e hi&he$ than thei$ a-tual ,$itin&s ,a$$ant, by 1i$tue o( thei$
pe$sonal -ha$a-te$.
4hen all is ,$itten that -an be ,$itten, and all is done that -an be done, it 'ay be (ound that
Bash) ,as not only the &$eatest o( all the 3apanese, but that he is to be nu'be$ed a'on& those
(e, hu'an bein&s ,ho li1ed, and tau&ht us ho, to li1e by li1in&.
Notes
1. 1!2J1J%5, 8on(u-ianist s-hola$.
2. 1!239!+ p$iest and ,aka poet.
3. 5a,$en-e, 'he "an )ho Die*(
Bash by R. H. Blyth
in: A History of Haiku, Volume 1: From the Beginnings up to Issa, "he Hokuseido #$ess,
19!3, pp. 1%529.
Bash ,$ote Furu+ike ya, the 'odel 1e$se o( the Bash .-hool, in 1!8!. "he s-hool -a'e to
an end ,ith the death o( Ha2in, the tea-he$ o( Buson, 1JK2. "he /en$oku #e$iod ,as ($o'
1!88 to 1J%3, but Bash died in 1!9K, and thus his &$eat poeti- ,o$k ,as all done at the
be&innin& o( /en$oku. <ntil 1!8!, ,hen Bash ,as K1, he had ,$itten only 'edio-$e 1e$ses,
and (o$ only ei&ht o$ nine yea$s, the last yea$s o( his li(e, did he ,$ite $eal poet$y. *n this
$espe-t he is the opposite o( 4o$ds,o$th, ,hose best ,o$k ,as done at the be&innin& o( his
li(e, in the ten yea$s bet,een 1J98 and 18%8, ,ith 1e$si(yin& up to 185%.
4hen the /en$oku #e$iod be&an, the "oku&a,a &o1e$n'ent had been in po,e$ ei&hty yea$s.
.aikaku in p$ose, 8hika'atsu in d$a'a, Au'aCa,a BanCan in 8on(u-ianis' 'ade the pe$iod
(a'ous. *n Buddhis' also the 1a$ious se-ts p$odu-ed &$eat 'onks, and in a$t A$in and *t-h
a$e na'es that ,ill ne1e$ be (o$&otten.
Bash ,as bo$n in 1!KK, and in his youth ,as in attendan-e upon Goshitada, the eldest son o(
his (eudal lo$d, ,ho lo1ed lite$atu$e, and studied haikai unde$ .en&in. 6t his death, Bash,
bein& then 23 yea$s old, le(t the sa'u$ai se$1i-e, and late$, at the a&e o( 29, ,ent to ;do. 6t
(i$st he used the penna'e "sei, but -han&ed it to Bash a(te$ he ,ent to li1e at Bashan,
"he Banana He$'ita&e, at Buka&a,a.
)ash/ nowaki
shite
tarai ni ame
wo kiku yo kana
A night listening
To the rain leaking into the tu,
The anana%plant lown y the gust.
"his is si&ned "sei o( Bashan. "he banana plant -o'es a&ain in a haiku by 8hi$i, ,ith
,ho' Bash ,ent to his nati1e pla-e and Goshino and Ayto bet,een 6u&ust 1!8K and 6p$il
1!85:
!ukagawa ya
ash/ wo fu0i ni
azuke yuku
!ukagawa.
We depart, lea"ing the ash/
To 1ount !u0i.
Bash spent 'u-h o( his li(e in t$a1ellin&, and 'ost o( his ,o$ks a$e dia$ies+ e1en the haiku
a$e a kind o( poeti-al dia$y. Bash9s (i$st 1e$ses a$e o( the :an$in type:
Ara nan to mo na
ya
kin/ wa sugite
fugu to shiru
Well, nothing seems to ha"e happened,
Though I ate swell%fish soup
2esterday.
"his is ea$ly Bash, ,ith its popula$, anti,aka tone, thou&h the lan&ua&e o( the (i$st pa$t is
bo$$o,ed ($o' 7. 6(te$ li1in& in he$'ita&e a(te$ he$'ita&e th$ou&hout the -ount$y he -a'e
ba-k to ;do and stayed the$e (o$ about t,o yea$s. 6 1e$se o( this pe$iod:
3me ga ka ni
notto hi no deru
yama0i kana
Suddenly the sun rose,
To the scent of the plum%lossoms
Along the mountain path.
He le(t ;do a&ain, (o$ the last ti'e, and $etu$ned to his nati1e pla-e. >ne o( the 1e$ses
-o'posed on this 2ou$ney:
4igawa
nami ni chiri nashi
natsu no tsuki
The *i"er 4i&
In the ripples, not a particle of dirt5
3nder the summer moon.
He ,ent on to 7a$a, and Lsaka, ,he$e he died. His death1e$se is ,o$thy o( su-h a &$eat poet:
Tai ni yande
yume wa kareno wo
kakemeguru
Ill on a 0ourney&
1y dreams wander
O"er a withered moor.
"his 1e$se has 'yste$y ,ithout sole'nity, (inality ,ithout despai$, t$uth ,ithout o$na'ent. *t
should be -o'pa$ed to the (ollo,in& by *Cen, -o'posed the ni&ht be(o$e Bash9s death:
,ipparite
futon ni samuki
warai kana
6ulling the ed%clothes
)ack and forth, ack and forth,
Wry smiles.
"his 1e$se ,as o--asioned by *Cen and @asahide, sleepin& unde$ the sa'e ?uilt. Bash
hi'sel( s'iled ,hen he $ead it. @aste$ and dis-iples had the $elation o( pa$ent and -hild$en.
Bash $e'inds us a little o( /olds'ith.
Bash9s 1e$ses a$e -o'pa$ati1ely (e, in nu'be$, about t,o thousand in all, o( ,hi-h about a
hund$ed a$e $eally &ood, but one thin& that st$ikes us about the' is thei$ 1a$iety. 4e -an see
in his 1e$ses the tenden-ies ,hi-h late$ poets de1eloped.
;pi-
!ukitoasu
ishi wa asama no
nowaki kana
The autumn last
)lows along the stones
On 1ount Asama.
8hinoise$ie
2ogi wa omoshi
goten ni yuki wo
miru aran
The ed%clothes are so hea"y,
The snow of the sky of the 7ingdom of Wu
Will soon e seen.
.till 5i(e
Shio%dai no
haguki mo samushi
uo no tana
In the fish%shop
The gums of the salted sea%ream
Are cold.
<n-on1entionality
'o wo yoko ni
uma hikimuke yo
hototogisu
8ead my horse
Across the moor
To where the hototogisu is singing.
Hu'ou$
1ugi%meshi ni
yatsururu koi ka
neko no tsuma
The lady%cat,
With lo"e and arley%rice
So thin.
#i-tu$es?ueness
Shigururu ya
ta no arakau no
kuromu hodo
!irst winter rain,5
9nough to turn
The stule lack.
:eli-a-y
-himaki musuu
katate ni hasamu
hitai%gami
Wrapping rice%dumplings in amoo lea"es,
With one hand she fingers
The hair o"er her forehead.
4hen ,e -all Bash the &$eatest o( the DhaikuE poets o( 3apan, it is not only (o$ his -$eation o(
a ne, (o$' o( hu'an e0pe$ien-e, and the 1a$iety o( his po,e$s, illust$ated abo1e. He has an
all$ound deli-a-y o( sy'pathy ,hi-h 'akes us nea$ to hi', and hi' to us. 6s ,ith :$
3ohnson, the$e is so'ethin& in hi' beyond lite$atu$e, abo1e a$t, akin to ,hat "ho$eau -alls
ho'eliness. *n itsel(, 'e$e &oodness is not 1e$y th$illin&, but ,hen it is added to sensiti1ity, a
lo1e o( beauty, and poet$y, it is the i$$esistible (o$-e ,hi-h -an 'o1e i''o1able thin&s.
4hat ,as it that 'ade Bash suddenly $ealise that poet$y is not beauty, as in ,aka, o$
'o$ality, as in dka, o$ intelle-tuality and 1e$bal ,it as in haikai= .o'e say it ,as the $esult
o( his study o( Ien, but this see's to 'e 1e$y unlikely. Bash does not see' to ha1e u$&ed his
dis-iples to do CaCen, and seldo' speaks about Ien and its $elation to haiku. "he (a-t is that
haiku ,ould ha1e -o'e into bein& e1en i( Bash had ne1e$ been bo$n. 4e -annot say,
ho,e1e$, that so'ebody ,ould ha1e ,$itten .hakespea$e9s plays e1en i( .hakespea$e Do$
Ba-on o$ @a$lo,e o$ the ;a$l o( >0(o$d o$ Mueen ;liCabethE had not. 4hat "ho$eau said,
that @an, not .hakespea$e o$ Ho'e$, is the &$eat poet, is t$ue$ o( 3apan than o( any othe$
-ount$y, ,he$e -usto' and t$adition a$e st$on&e$, and ,he$e the poet$y ,as not a $o'anti- o$
-lassi-al solo, but a de'o-$ati- t$io o$ ?ua$tet. 6&ain, as ,as noted be(o$e, >nitsu$a, /onsui,
and 'any lesse$ 'en ,e$e -o'posin& &ood haiku at the sa'e ti'e as Bash. Ho,e1e$, they
did not ha1e the 'odesty, the &ene$osity, the a'bitionlessness o( Bash. >nitsu$a lo1ed
sin-e$ity and t$uth and 'ade the' his ob2e-t, but Bash 2ust lo1ed.
"he (ollo,in& a$e so'e 1e$ses le(t unt$anslated in the (ou$ p$e1ious 1olu'es.
3guisu wo
tama ni nemuru ka
tao%yanagi
1aking the uguisu its spirit,
The lo"ely willow%tree
Sleeps there.
"his ea$ly 1e$se o( Bash D,$itten be(o$e 1!83E see's to be based on the (a'ous sto$y o(
.shi9s d$ea'in& he ,as a butte$(ly. "he ,illo, has d$ea'ed itsel( into an u&uisu ,hile it
stands the$e asleep in the ,a$' sp$in& day.
7omo wo kite
tareito imasu
hana no haru
Who is he,
A straw%mat o"er him,
This flowery spring:
#eople &o to see the -he$$y blosso's in thei$ best appa$el, but he$e is so'eone lyin& unde$
the' -o1e$ed ,ith a st$a,'at, a be&&a$ o$ a 'ad'an, o$ a ,ande$in& 'aste$less sa'u$ai.
His sp$in&, his (lo,e$1ie,in& 'ust be di((e$ent, 'o$e "ho$eaulike than that o( o$dina$y
people+ Bash does not pass by on the othe$ side.
7ono aki wa
nan de toshiyoru
kumo ni tori
This autumn,5
Old age I feel,
In the irds, the clouds.
*t is e1enin&. Bash is on a 2ou$ney, his last+ hal( a 'onth late$ he ,ill be dead. "he bi$ds o(
the ai$ ha1e thei$ nests and the (o0es thei$ holes, but the son o( 'an hath not ,he$e to lay his
head. "he ono'atopoeia o( this 1e$se is st$ikin&+ Bash sounds as i( sobbin& o$ -hokin&.
Asagao ya
hiru wa 0/ orosu
kado no kaki
1orning%glories looming&
8ocking up
The gate in the fence.
4hat Bash 'eans is that i( he lea1es the &ate open, so'eone ,ill -o'e and he ,ill ha1e to
ente$tain hi'. He ,ants to en2oy the 'o$nin&&lo$ies ,hile they bloo'. @o$ality &i1es ,ay to
aestheti-is'.
7ashi no ki no
hana ni kamawanu
sugata kana
The oak tree
8ooks careless
Of the cherry lossoms.
"he oak t$ee see's ?uite boo$ish and $usti- -o'pa$ed to the deli-ate and -i1ilised -he$$y
(lo,e$s, but Bash liked the (o$'e$ bette$+ 4o$ds,o$th also.
Okiagaru
kiku honoka nari
mizu no ato
!aintly the chrysanthemums,
After the water susides,
*ising again.
Hea1y $ain in the dayti'e has -aused the &a$den to be a st$et-h o( puddles. 6s e1enin&
-o'es on, the ,ate$ d$ops, the (lo,e$s be&in to $aise thei$ heads a&ain, but no, it is hal(da$k
and the (lo,e$s ha1e so'ethin& ethe$eal and e1en &hostly about the'. *t $e'inds us o(
5a,$en-e9s ,$itin& o( (lo,e$s, lilies, pinks, and i$ises in $ons an* ,o-ers(
Shih/ yori
hana fuki%irete
nio no umi
!rom all directions
-ome cherry petals,
)lowing into the lake of 'io.
7ionou'i, o$ 5ake Bi,a, is 1e$y la$&e, and this 1e$se &i1es us a (eelin& o( the e0panse o(
-he$$y (lo,e$s su$$oundin& it, and blo,n by sp$in& b$eeCes onto the su$(a-e o( the ,ate$.
7ao ni ninu
hokku mo ideyo
hatsu%zakura
The first cherry lossoms&
1ay the hokku
)e unlike our faces.
>$iental aestheti-is' is di((e$ent ($o' 4ilde9s, and e1en ($o' #ate$9s &$een tie. "he haiku
poets ,e$e on the ,hole an a,(ullookin& -$o,d, and ne1e$ t$ied to look anythin& else.
7akitsuata
kataru mo tai no
hitotsu kana
Talking efore the iris flowers:
This also is one of the pleasures
Of tra"elling.
"his ,as ,$itten at a 'an9s house in Lsaka, ,hen on the 2ou$ney des-$ibed in Oi no o!umi(
Suma no ama no
yasaki ni naku ka
hototogisu
Is the hototogisu crying
At arrows shot
)y fishermen of Suma:
"his is the kind o( 1e$se ,hi-h -an ha$dly stand by itsel(, but $e?ui$es the poeti- na$$ati1e in
,hi-h it is e'bedded. Bash tells us so'e t,enty lines be(o$e, that the$e ,e$e (ish -alled
kisugo sp$ead out on the sho$e to d$y, and -$o,s stole the'. "he 1illa&e$s, dislikin& this, shot
at the -$o,s ,ith bo,s and a$$o,s, ,hi-h Bash -o''ents ,as ha$dly be-o'in& to
(ishe$'en, and says that this -$uelty 'ay be pe$haps as-$ibed to the (a-t that 'any battles
,e$e (ou&ht he$e in olden ti'es. *n the haiku Bash e0p$esses the (eelin& that the hototo&isu
by this sho$e 'ay be -$yin& in sy'pathy ,ith the -$o,s, o$ in (ea$ o( its o,n li(e.
7amutsu no
hi ni umareau
kanoko kana
On the "ery day of )uddha(s irth,
A young deer is orn:
,ow thrilling.
>n Buddha9s bi$thday, a s'all statuette o( the Buddha is -ontinually la1ed ,ith s,eet &$een
tea. B$o' this -o'es the na'e Buddhala1in& :ay. "he ,o$d th$illin& is a 1e$y st$on& ,o$d
to use o( kana, ,hi-h is ha$dly 'o$e than an e0-la'ation 'a$k.
7ono yama no
kanashisa tsuge yo
tokoro%ori
1ake known
The sad stories of this mountain temple,
2am%digger.
"his 1e$se, ,hi-h -o'es in Oi no o!umi, ,as ,$itten at Bodai Hill "e'ple at Ga'ada in the
p$o1in-e o( *se+ it ,as in $uins at this ti'e. Bash, ,ith a kind o( ea$thy hu'ou$, $elates the
Buddhis' to the ya's the 'an is di&&in& up.
7ami%gaki ya
omoi mo kakezu
nehan%z/
The !ence around the Shrine:
3nlooked%for, unforeseen,5
The picture of )uddha entering 'ir"ana.
"his ,as -o'posed at the *se .h$ines, on the 15th day o( the .e-ond @onth, and Bash is
e0p$essin& his su$p$ise Dand pleasu$eE at so'ethin& ,hi-h, ho,e1e$ 'u-h san-tioned by
an-ient -usto', is still astonishin&, na'ely, the (usion o( .hint and Buddhis'. "his
a'al&a'ation took pla-e at the be&innin& o( the 9th -entu$y a.d., ,hen the .hin&ton .e-t
de1eloped the do-t$ine o( .y/!u+$hint/,
1
o$ $him!utsu+ong/
2
by ,hi-h the &ods o( .hint
,e$e $e-o&nised as 'ani(estations o$ in-a$nations o( the Buddhist di1inities.
2oshino nite
sakura mish/ zo
hinoki%gasa
-edar%strip kasa.
At 1ount 2oshino I will show you
The cherry lossoms.
"his 1e$se is inte$estin& in its play(ul si'pli-ity. Bash ,as &oin& to Goshino, ,ith "okoku,
to a--o'pany hi'. Besides the abo1e 1e$se, they also ,$ote in thei$ kasa, u'b$ellalike hats,
Two fellow%tra"ellers, dwelling%less in the 3ni"erse.
"his e0p$ession, so deeply t$a&i-, is to be put to&ethe$ ,ith the 1e$se abo1e, 2ust as they ,e$e
in the kasa.
'ao mitashi
hana ni akeyuku
kami no kao
Still, I would fain see
The god(s face
In the dawning cherry lossoms.
"he 1e$se ,as 'ade at the (oot o( @ount Aatsu$a&i. "he$e ,as a sto$y
3
that ;n no >tsuno, a
ne-$o'an-e$, bo$n !3K a.d., ,hen intendin& to 'ake a b$id&e bet,een Aatsu$a&i and
Goshino, asked a &od, Hitokotonushi, to help hi'. His (a-e ,as so hideous that he only
appea$ed and ,o$ked at ni&ht. Bash (eels that the pla-e is so beauti(ul that he -annot belie1e
the (a-e ,as u&ly, and ,ishes to see it. "his is an indi$e-t, but all 'o$e i'p$essi1e t$ibute to
the beauty o( the pla-e and the pe$son.
4e o(ten (eel "ho$eau 'isanth$opi-, thou&h pe$haps he only disliked shallo, and sel(
i'po$tant people. 4e (ind 4o$ds,o$th a little -old to hu'anity, thou&h he lo1ed his siste$
and his ($iends passionately. But Bash has su-h a ,a$' hea$t, ,a$'e$ e1en than
Haku$akuten. *n the Oi no o!umi ,e (ind the (ollo,in& haiku:
Wakaa shite
onme no shizuku
nuguwaaya
2oung lea"es coming out,5
Ah, that I could wipe away
The drops from your eyes.
"his ,as -o'posed at .hdai2i "e'ple in 7a$a. "he te'ple, the 'ain te'ple o( the Risshu
.e-t, ,as (ounded by Aan2in, a 8hinese 'onk o( the "an& dynasty, ,ho -a'e to 3apan in JK5
a.d. Bash says that he endu$ed 'o$e than se1enty dist$esses at sea, his eyes bein& in2u$ed
by the salt ai$, and be-o'in& totally blind. "he haiku ,as 'ade ,hen ,o$shippin& be(o$e his
i'a&e that stood in the te'ple.
1eigetsu ya
kado ni sashi%kuru
shio%gashira
The autumn full moon&
The foaming tide
*olls up to the gate.
"he tide (lo,s up to the &ate and the 'oon shines on the ,a1es. "he 'oon is $e(le-ted in the
,ate$, and (alls and b$eaks ,ith it. "he$e is the silen-e o( the 'oon and the thunde$ o( the
,a1es. *t is the 'oon o( autu'n, and the$e is an ine0pli-able (eelin& o( &$ie( and sadness.
7y/ made wa
mada hanzora ya
yuki no kumo
On a 0ourney to the -apital,
Only half the sky tra"ersed,
With clouds foretelling snow.
Bash ,$ote this at 7a$u'i. 4hen @asaaki 6sukai, a noted poet, died 1!J9, passed a ni&ht in
this to,n, he -o'posed the (ollo,in& ,aka and &a1e it to his host:
The -apital
!ar, far away
!rom this )ay of 'arumi,
With the "ast, remote seas
*olling etween.
"his $e'inds us o(:
!rom the lone shieling on the misty island
1ountains di"ide us and the waste of seas.
Shiraga naku
makura no shita ya
kirigirisu
)eneath the pillow
Where the grey hairs are pulled out,
-hirps a cricket.
.o'ebody is pullin& out his ,hite hai$s (o$ hi' as he lies in bed. Beneath the (loo$ unde$ his
pillo,, a -$i-ket is -hi$pin&. "he$e is so'ethin& in the 1oi-e o( the -$i-ket, its 'elan-holy
$esi&nation, ,hi-h a--o$ds ,ith Bash9s (eelin& o( old a&e and the ine1itable passin& o( ti'e.
'ehan; ya
shiwate awaseru
0uzu no oto
The anni"ersary of the <eath of )uddha&
!rom wrinkled praying hands,
The sound of the rosaries.
*t see's that this is the o$i&inal 1e$sion+ late$ the (i$st line ,as e'ended to, am!utsu ya, "he
8e$e'ony o( pou$in& 4ate$ o1e$ an *'a&e o( Buddha on his Bi$thday. *t is di((i-ult to
i'a&ine ,hy Bash -han&ed this, e0-ept pe$haps on the &ene$al p$in-iple that a dis-o$d is
bette$ than a ha$'ony,Ha 1e$y doubt(ul idea any,ay.
7a wo saguru
ume ni kura miru
nokia kana
Smelling the plum%lossoms,
I gazed up at the ea"es,
And saw a godown.
"his 1e$se ,as the (i$st 1e$se, the hokku, o( a set o( linked 1e$ses 'ade at a poeti-al pa$ty held
at a house nea$ 6tsuta .h$ine in >,a$i. "he$e a$e th$ee beauti(ul thin&s he$e, the s-ent o( the
plu', the -u$1in& ea1es, and the ,hite,alled, -astlelike ,a$ehouse.
Tametsukete
yuki%mi ni makaru
kamiko kana
Smoothing its creases,
I go out snow%"iewing
In my kamiko.
"he poet$y o( this is (aint but $eal. "he kamiko, a kind o( $ain-oat 'ade o( pape$, is all
-$u'pled ,hen he puts it on, and (o$ this poeti-al 1ie,in& o( the sno,lands-ape, he 'akes
the best o( this poo$ &a$'ent, st$ai&htenin& it he$e and s'oothin& it the$e. He ,ishes to look
his best ,hen the sno, looks its best. "his is e0p$essed also by the lite$a$y te$'s tametsukete,
makaru, instead o( nosu, yuku(
Togi%naosu
kagami mo kiyoshi
yuki no hana
The sacred mirror
Is re%polished and clear,
In the snow%flowers.
"his 1e$se -o'es ($o' the Oi no ko!umi, and ,as ,$itten -on-e$nin& "he 8o'pleted
Rebuildin& o( 6tsuta .h$ine, nea$ 8ape *$ako in @ika,a #$o1in-e. "he point o( the 1e$se is
the pu$ity o( the ne,lypolished 'i$$o$, and that o( the sno,. "his 1e$se has 'o$e D.hintE
piety than poet$y.
Taine shite
mishi ya ukiyo no
susu%harai
Seen on a 0ourney,5
The year%end house%cleaning
Of this transitory world.
Bash (elt hi'sel( to be ho'eless, thou&h a-tually he ,as at this ti'e, the 1%th o( :e-e'be$
1!8J, on his ,ay to his nati1e pla-e.
7areshia ya
yaya kager/ no
ni%san%zun
O"er the withered grass,
At last an inch or so
Of heat%wa"es.
"he &$ass is still ,ithe$ed, ,ith no eye o( &$een in it, but al$eady the$e is an in-h o$ t,o o(
heat,a1es abo1e it. "his 1e$se (ollo,s anothe$ one:
,aru tachite
mada kokonoka no
noyama kana
Spring has come,5
)ut moor and mountain
Are those of the ninth day.
"hese haiku a$e not 1e$y poeti-al pe$haps, 2ud&ed as lite$atu$e, but they sho, ho, deeply
inte$ested Bash ,as in the p$o-ession o( the seasons. "he sa'e is t$ue o( the be&innin& o( the
'intern A!!ey O*e:
!i"e years ha"e past& fi"e summers, with the length
Of fi"e long winters.
,oshizaki no
yami wo miyo to ya
naku chidori
The crying plo"ers,5
<o they id me gaze upon
The darkness round ,oshizaki -ape:
"he plo1e$s a$e ,histlin& ($o' the da$kness in the di$e-tion o( this headland. "he 1e$se ,as
-o'posed at 7a$u'i ,he$e he stayed ,hen on a 2ou$ney to his nati1e pla-e, 1!8J. 4e (eel in
it the sadness o( a t$a1elle$ ,ho kne, his 2ou$ney to be ,ithout end. "he ?uestion(o$' o( this
1e$se is deeply si&ni(i-ant. #oet$y is ne1e$ in the ans,e$s, but in the ?uestions,Ho$ $athe$ it
lies in the $e&ion bet,een ?uestion and ans,e$, bet,een kno,n and unkno,n. 8o'pa$e
.hha9s 1e$se:
'ani wo tsuru
oki no koune zo
kasa no yuki
What are they catching,
The small oats out in the offing,
As snow falls on my kasa:
>ne o( the 'ost $ep$esentati1e o( Bash 1e$ses:
Tai%ito to
waga na yoaren
hatsu%shigure
The first winter shower&
1y name shall e
=Tra"eller.>
"his ,as the (i$st haiku Bash ,$ote ,hen settin& out in 7o1e'be$ on a 2ou$ney to his nati1e
pla-e. <p to this ti'e, he has been Bash, o$ "sei, o$ "ea-he$, but no, he has 2oined
that 1ast 'ultitude that 2ou$ney ,ithout $est ($o' one pla-e to anothe$, like to$no(( lea1es
-a$$ied no one kno,s ,hithe$ by the ,ind. "his is the de'o-$a-y o( Bash, the de'o-$a-y o(
7atu$e.
!uyu no hi ya
a0/ ni k/ru
kage/shi
A winter day&
On my horse(s ack
A shadow sits freezing.
"his 1e$se ,as -o'posed ,hen Bash ,as passin& alon& the 6'atsu 7a,ate, a na$$o, path
th$ou&h the $i-e(ields, ,he$e a st$on& -old ,ind ,as blo,in& ($o' the sea. Bash (eels
hi'sel( to be a 'e$e shado,, ($oCen sti((. "he$e a$e se1e$al othe$ (o$'s o( this 1e$se, (o$
e0a'ple:
Samuki ta ya
a0/ ni sukumu
kage/shi
The cold rice%fields&
On horse%ack,
1y shadow creeps elow.
He$e the shado, is i'p$inted on the (ield as he passes.
Akeono ya
shirauo shiroki
koto issun
In the morning twilight
The lancelets,
Inch%long white things.
>n the ,ay to 7a&oya, nea$ Au,ana, Bash ,ent do,n to the seasho$e in the ea$ly 'o$nin&,
be(o$e it ,as still p$ope$ly li&ht. Bishe$'an ,e$e at ,o$k the$e, and he sa, so'ethin& ,hite
&lea'in& on the sand. /oin& -lose$, this 'ass o( t$anslu-ent ,hiteness, $e(le-tin& the easte$n
skies, $esol1ed itsel( into s'all (ishes, ea-h o( about an in-h in len&th.
Shinimosenu
tai0i no hate yo
aki no kure
Still ali"e
At the end of the 0ourney.
An e"ening of late autumn.
>n the se-ond o( his 2ou$neys Dei&ht in allE and the (i$st o( ,hi-h he 'ade a $e-o$d D'he
Nozarashi ik/E Bash $ea-hed his nati1e pla-e in the autu'n o( 1!8K, ,hen he ,as (o$ty one
yea$s old. *t ,as about this ti'e that Bash $ealiCed that ou$ bein&9s ho'e is ,ith, not
ete$nity, but natu$e, and he had $esol1ed to &i1e up li(e itsel( in o$de$ to li1e the$e. He
$e&iste$s in this 1e$se so'e su$p$ise at (indin& hi'sel( not dead yet, in spite o( a ,eak body
upon an a$duous 2ou$ney o( alto&ethe$ ei&ht 'onths.
Tai%garasu
furu%su wa ume ni
nari ni keri
The old nest
Of the 0ourneying crow,5
It has ecome a plum%tree.
"his -ould ha$dly be -alled a &$eat poe', o$ e1en a pa$ti-ula$ly &ood haiku, and yet ,hen ,e
kno, it is by Bash, it e0p$esses the ,hole o( his -ha$a-te$ and ,ay o( li(e, that is, ,ay o(
poeti-al li1in&. *t ,as p$obably -o'posed in 1!85, ,hen he ,ent ba-k to his nati1e pla-e. He
had been a youn& sa'u$ai+ no, he ,as d$essed in bla-k, 'onkish $obes. "hen it ,as his
ho'e+ no, it ,as the ho'e o( the plu' t$ee in the &a$den. Bash sees natu$e,
With its calm oli"ious tendencies,
And silent o"ergrowings.
3ma ni nete
zanmu tsuki t/shi
cha no kemuri
On horseack half%asleep,
,alf%dreaming, the moon far off,
Smoke for the morning tea.
Bash le(t the inn in the ea$ly 'o$nin&. He had not slept ,ell, and he sat on the ho$se still
hal(asleep. *n the ,este$n sky the 'oon ,as (adin& as it sank, and ($o' he$e and the$e $ose in
the ai$ the s'oke o( the (i$es bein& lit (o$ the 'o$nin& -up o( tea. "he ho$se, Bash hi'sel(,
the d$ea's o( the ni&ht, the (aintness o( the 'oon in the distan-e, and the un,illin& s'oke a$e
all in ha$'ony ,ith the 'o$nin& stillness and hal(a,akeness.
Imo%tane ya
hana no sakari wo
uri%aruku
The cherry lossoms at their est,
They walk aout selling
Seeds of the yam.
#otato seeds a$e so,n 2ust at this ti'e, and Bash, thou&h b$ou&ht up as a sa'u$ai, and li1in&
-hie(ly in ;do, took a deep inte$est in the seasons as su-h.
,i no michi ya
aoi katamuku
satsuki%ame
In the rains of ?une
<oes the hollyhock turn
To the path of the sun:
*t is $ainin&, and the hollyho-k tu$ns pe$haps in the di$e-tion o( the unseen sun. 4e (eel the
se-$et li(e and (aith(ulness o( thin&s, the bond that unites the'.
3guisu ya
take no ko%yau ni
oi wo naku
The uguisu,
In the gro"e of amoo shoots,
Sings of its old age.
*t is ea$ly su''e$, and ba'boo shoots a$e al$eady appea$in& in the &$o1es. "he 1oi-e o( the
u&uisu is past its p$i'e, and as the sound o( the bi$d de-lines in po,e$ and s,eetness, the
youn& sp$outs a$e -o'in& out o( the &$ound ,ith all thei$ 1itality and ene$&eti- &$o,th.
,irugao ni
kometsuki suzumu
aware nari
The rice%pounder,
-ooling himself y the con"ol"ulus flowers,5
A sight of pathos.
"he $i-epounde$ is e0hausted, and sits in the shade 'oppin& his b$o,. 6lon& the (en-e the
-on1ol1ulus (lo,e$s a$e bloo'in& be-ause o( and in spite o( the heat. "he hal(obli1iousness
o( the (lo,e$s on the pa$t o( the 'an, and the -o'plete obli1iousness on the pa$t o( the
(lo,e$s, &i1es Bash a (eelin& ,hi-h, like /od, is na'eless.
,arusame ya
hachi no su tsutou
yane no mori
Spring rain falling
The roof leaks,
Trickling down the wasps( nest.
"his is a 'inute obse$1ation o( the in-onse?uen-e, the haphaCa$dness o( natu$e, one o(
4o$ds,o$th9s $ando' t$uths.
1ikazuki ni
chi wa ooro nari
soa no hana
The earth is whitish
With uckwheat flowers
3nder the crescent moon.
.o'eti'es this ha$d, solid, 'atte$o((a-t ,o$ld looks &hostly and un$eal+ ,hi-h indeed is the
t$ue one=
'agaki hi wo
saezuri taranu
hiari kana
Singing, singing,
All the long day,
)ut not long enough for the skylark.
"he$e is so'ethin& insatiable about natu$e, as the$e is also in 'an, and thou&h in &ene$al the$e
see's a (itness and balan-e in thin&s, ,e (ind also the $a1enous, the e0-essi1e, in(inite desi$e.
"he skyla$k is a si'ple and inno-ent e0a'ple o( this. *t sin&s ,ithout sense o$ $eason, ($o'
'o$nin& to ni&ht, a -$eatu$e ,hi-h the lon&est day -an ne1e$ satis(y o$ ,ea$y.
Asa%tsuyu ni
yogorete suzushi
uri no doro
In the morning dew,
<irty, ut fresh,
The muddy melon.
Bash pe$-ei1ed in 1!9K, the yea$ o( his death, ,hat 8$abbe &$asped a hund$ed yea$s late$,
that 'ud is the 'ost poeti-al thin& in the ,o$ld.
7usamakura
makoto no hanami
shite mo ko yo
-ome, come
To the real flower%"iewing
Of this life of po"erty.
4e 'ay (ind a hint o( Bash9s attitude to,a$ds the -he$$y blosso's in a ,aka ($o' the
okinsh0, Nolu'e ON, by Ao'a-hi:
The in"isile colour
That fades,
In this world,
Of the flowers
Of the heart of man.
>--asionally ,e -an see ,hat an e'otional pe$son Bash ,as, thou&h usually he $ep$esses
his (eelin&s:
Te ni toraa
kien namida zo atsuki
aki no shimo
Should I take it in my hand,
It would melt in my hot tears,
8ike autumn frost.
He is $e(e$$in& to the ,hite hai$ o( his dead 'othe$ ,hi-h he sa, ,hen he $etu$ned to his
nati1e pla-e in 1!8K.
Aki chikaki
kokoro no yoru ya
yo0/han
Autumn is near&
The heart inclines
To the four%and%a%half mat room.
4hen su''e$ is endin&, and autu'n app$oa-hes, poeti-al people (eel d$a,n to the s'all
$oo' ,he$e the tea -e$e'ony is held. "ea, like natu$e itsel(, belon&s to no pa$ti-ula$ season,
yet as the ene$&y o( su''e$ de-lines, the 'editati1e 'ood, a 'o$e passi1e state o( 'ind
a$ises, and ,e ,ish to e0p$ess the ha$'ony and beauty o( li(e in a 'eetin& o( ($iends, an
asso-iation ,ith si'ple and beauti(ul thin&s only, and (o$ this 'ood the tea -e$e'ony ,as
'ade, sin-e out o( this it p$o-eeded. Bash9s 1e$se is undeniably sub2e-ti1e, but it is not
pu$ely indi1idual, (o$ tea is a so-ial thin&, and (u$the$, th$ou&h the e0p$ession o( his o,n
desi$e, he has &i1en us so'ethin& o( the ob2e-ti1e natu$e o( the autu'nal season as it takes the
pla-e o( late su''e$.
4hat 'akes Bash one o( the &$eatest o( the poets o( the ,o$ld is the (a-t that he li1ed the
poet$y he ,$ote, and ,$ote the poet$y he li1ed.
Notes
1. ry/!u 'eans t,o pa$ts, ,hat a$ises ($o' the ong/kai, the :ia'ond 4isdo'+ and
,hat a$ises ($o' the 'aiz/kai, the <ni1e$se"$easu$e.
2. By analo&y ,ith these t,o, ,e &et $him!utsu+ong/, .hint and Buddhis' blended.
3. Re-o$ded in Okugish/, a -olle-tion o( ,aka, ,ith notes, by Bu2i,a$a Aiyosuke, 11%K
11JJ.
Terebess Asia Online (TAO)
>n Bash
8ontents
@atsuo Bash 1!KK=1!9K
@atsuo Bash by Ha$old /ould Hende$son
in: 'he Bam!oo .oom: An Intro*u1tion to 2apanese Haiku,
Hou&hton @i((lin 8o'pany, 193K, pp. 18K2.
@atsuo Bash: "he #oeti- .pi$it, $a!i, and 5i&htness, by @akoto <eda
in: 3eami, Bash/, 4eats, 5oun*: A $tu*y in 2apanese an* 6nglish 5oeti1s,
@outon P 8o., 19!5, pp. 35!K.
*nt$odu-tion to Bash/ by 7obuyuki Guasa
'he Narro7 .oa* to the Deep North an* other 'ra-el $ket1hes,
t$anslated by 7obuyuki Guasa, #en&uin Books, 19!!, pp. 9K9.
"he 5oneliness o( @atsuo Bash by 3a'es H. Boa$d
in: 'he Biographi1al 5ro1ess: $tu*ies in the History an* 5sy1hology of .eligion,
edited by B$ank ;. Reynolds and :onald 8apps, @outon, 19J!, pp. 3!391.
5u-ien .t$yk, *nt$odu-tion to On ,o-e an* Barley: Haiku of Bash/,
t$anslated by 5u-ien .t$yk, #en&uin Books, 1985, pp. 919.
*'pe$'anen-e, Bate, and the 3ou$ney: Bash and the #$oble' o( @eanin& by :a1id 5.
Ba$nhill
in: .eligion, Nol. 1!, 7o. K, 198!, pp. 323K1.
Bash9s /host by .a' Ha'ill
in: Ameri1an 5oetry .e-ie7, Nol. 18, 7o. !, 7o1e'be$ 1989, pp. K95K.
Bash as Bat: 4ay(a$in& and 6ntist$u-tu$e in the 3ou$nals o( @atsuo Bash by :a1id 5.
Ba$nhill
in: 2ournal of Asian $tu*ies, Nol. K9, 7o. 2, @ay 199%, pp. 2JK9%.
@akoto <eda, *nt$odu-tion to Bash/ an* his Interpreters: $ele1te* Hokku 7ith 8ommentary,
.tan(o$d <ni1e$sity #$ess, 1991, pp. 111.
@atsuo Bash and the #oeti-s o( .-ent by Ha$uo .hi$ane
in: Har-ar* 2ournal of Asiati1 $tu*ies, Nol. 52, 7o. 1, 3une 1992, pp. JJ11%.
>n a Ba$e B$an-h: Bash and the Haikai #$o(ession by .te1en :. 8a$te$
in: Ameri1an Oriental $o1iety, Nol. 11J, 7o. 1, 3anua$y@a$-h 199J, pp. 5J!9.
@atsuo Bash 1!KK=1!9K
D.a'u$ai na'e @une(usa+ also ,$ote unde$ pseudony's "sei and BQ$aboE 3apanese poet,
t$a1el ,$ite$, essayist, and -$iti-.
Bash is -onside$ed the (o$e'ost 3apanese haiku poet and one o( the leadin& (i&u$es in
3apanese lite$atu$e. He ele1ated the se1enteensyllable poe' (o$'H,hi-h had p$e1iously
been -onside$ed an e0e$-ise in ,o$dplayHto hi&h a$t in his nu'e$ous antholo&ies and t$a1el
dia$ies. *n his haiku Bash d$e, upon the 'o$e se$ious 'odes o( 8hinese poet$y and
-o'bined the ideals o( li&htness o( tou-h DkarumiE and Ien Buddhis' to $ise abo1e the
sti(led natu$e o( his p$ede-esso$s9 ,o$ks in the &en$e. *n haiku ,$itten in plain and al'ost
pu$ely des-$ipti1e lan&ua&e, he sho,ed that the (o$' -ould be used to e1oke deep e'otion
and -on1ey -o'ple0 spi$itual ideas. "he si'ple i'a&es he used -aptu$e e1anes-ent 'o'ents
o( hu'an e0pe$ien-e that point to a deepe$ $eality. Bash9s nu'e$ous t$a1el dia$ies, ,$itten in
p$ose and 1e$se, o((e$ insi&hts not only into the natu$al su$$oundin&s he des-$ibes but also into
the beauty that lies behind the'. His best ,o$k sho,s the -lea$ in(luen-e o( Ien, as he speaks
o( the beauty and (o$-e o( natu$e, the ,onde$s o( o$dina$y e0isten-e, the (leetin&ness o( all
thin&s, and the p$esen-e o( the ete$nal in the -on-$ete ,o$ld.
Biographical Information
"he details o( Bash9s ea$ly li(e a$e un-lea$, but it is belie1ed he ,as bo$n in 1!KK in <eno,
*&a #$o1in-e, pa$t o( the p$esentday @ie #$e(e-tu$e. He ,as one o( si0 -hild$en o( a lo,
$ankin& sa'u$ai. *n his youth he ente$ed the (eudal se$1i-e, takin& the sa'u$ai na'e
@une(usa and be-o'in& a pa&e to "odo Goshitada, a youn& sa'u$ai t,o yea$s his senio$ ,ho
sha$ed his inte$est in the 1e$se (o$' haikai no renga( >n his 'aste$9s une0pe-ted death in
1!!! Bash abandoned his aspi$ations as a sa'u$ai, and is thou&ht to ha1e 2ou$neyed to
Ayoto, ,he$e he studied the 3apanese -lassi-s. *n Ayoto he be-a'e inte$ested in the haiku o(
the "eitoku s-hool. His 1e$ses ,e$e published in se1e$al antholo&ies, and he -o'piled ai 9i
D'he $eashell %ame+ 1!J2E, an antholo&y o( haiku by thi$ty poets, ,hi-h ,e$e ,$itten (o$ a
-ontest.
*n 1!J2 Bash set out (o$ ;do D'ode$nday "okyoE. Bo$ so'e yea$s he ,as en&a&ed in
buildin& ,ate$,o$ks in the -ity to ea$n a li1in&. *n 1!J5, unde$ the pseudony' "sei he
-o'posed a linked1e$se se?uen-e ,ith 7ishiya'a .oin o( the :an$in s-hool. His $eputation
as a haiku 'aste$ in-$eased, and &ene$ous ($iends and dis-iples 'ade it possible (o$ hi' to
lead a li(e de1oted to poeti- -o'position. He established hi'sel( in a s'all -otta&e, ,he$e one
o( his (ollo,e$s p$esented hi' ,ith a banana plant, ,hi-h is -alled !ash/ in 3apanese. "he
t$ee, a $a$ity at the ti'e, ,as planted in Bash9s &a$den, and so pleased the poet that he
the$ea(te$ assu'ed Bash as his pen na'e.
*n 1!82 the Bashan He$'ita&e, as it ,as kno,n, bu$ned do,n, and Bash 'o1ed to Aai
#$o1in-e. *t is belie1ed that a$ound this ti'e, (eelin& a sense o( pu$poselessness despite his
a$tisti- su--ess, he be&an his study o( Ien at the 8hokei "e'ple in Buka&a,a and e'b$a-ed
an as-eti- li(estyle. ",o yea$s late$, seekin& an e0e$-ise in spi$itual and a$tisti- dis-ipline, he
set o(( on (oot on a pil&$i'a&e a-$oss the 3apanese -ount$yside. He $e-o$ded the details o( his
physi-ally de'andin& 2ou$ney in his (i$st p$ose and poet$y dia$y, Nozarashi ik/ D'he
.e1or*s of a )eather 6:pose* $keleton+ 1!85E. Bash -ontinued to 'ake si'ila$ pil&$i'a&es
(o$ the ne0t ten yea$s, the details o( ,hi-h he $e-ounted in nu'e$ous t$a1el sket-hes usin&
p$ose and 1e$se, su-h as Oku no Hosomi1hi D'he Narro7 .oa* to the Deep North+ 1!89E, one
o( his &$eatest ,o$ks. He li1ed (o$ a ti'e in ?uiet $eti$e'ent at the /en2Qan D<n$eal
:,ellin&E nea$ 5ake Bi,a, no$th o( Ayoto, and his a--ount o( this stay the$e is -onside$ed
one o( his (inest p$ose essays, o$ hai!un( *n 1!91 Bash $etu$ned to ;do, ,he$e a ne, Bash
an He$'ita&e had been built nea$ the site o( the (o$'e$ one. Bo$ the ne0t th$ee yea$s he
$e-ei1ed 'any dis-iples and spent his ti'e dis-ussin& poet$y. Ho,e1e$, he st$u&&led ,ith a
spi$itual -on(li-t bet,een his $eli&ious desi$e to t$ans-end ,o$ldly li(e and his li(e as a haiku
'aste$ and its attendant su--ess. *n the sp$in& o( 1!9K Bash set out on ,hat ,as to be his last
2ou$ney, a t$ip to his bi$thpla-e. *ll health (o$-ed hi' to stop in >saka, ,he$e he died o( a
sto'a-h ail'ent in the su''e$ o( 1!9K.
Major Works
Bash9s poe's appea$ed in se1e$al antholo&ies o( haikai, o$ li&hthea$ted linked 1e$se ,$itten
by a tea' o( poets, bet,een 1!!J and 1!J1, -ont$ibutin& to his &$o,in& $eputation as a poet.
"he (i$st antholo&y o( haikai -o'plied by Bash hi'sel(, ai 9i, in-ludes poe's ,$itten by
thi$ty poets (o$ a haiku -ontest. .u-h -ontests, ,hi-h 'at-hed indi1idual hokku, o$ openin&
lines o( linked 1e$se se?uen-es, led to hokku, o$ haiku, to be adopted and $espe-ted as an
autono'ous (o$'. *n the ai9i 1olu'e, Bash -o''ents on the thi$ty pai$s o( haiku and in
doin& so $e1eals his -onside$able poeti- i'a&ination and ,it. *n 1!J5 Bash -ont$ibuted
1e$ses to an antholo&y o( renku Dalso rengaE, a 'o$e se$ious (o$' o( linked 1e$se. "he$ea(te$
his ,o$k appea$ed 'o$e and 'o$e ($e?uently in linked1e$se antholo&ies and he 2ud&ed
nu'e$ous -ontests and ,$ote -o''enta$ies on the ,o$k o( othe$ poets. Bash9s ,o$k p$io$ to
1!8% ,as la$&ely (ashioned a(te$ that o( his tea-he$s in the :an$in 'o1e'ent, ,hi-h sou&ht to
'o1e beyond -ou$tly hu'o$ and ,itti-is's and des-$ibe the $ealities o( e1e$yday e0pe$ien-e.
6(te$ 1!8% Bash9s ,o$ks be&an to sho, stylisti- inno1ations that distin&uished the' ($o'
the 1e$ses o( the :an$in s-hool. His 1!83 antholo&y o( haikai 1e$se, "inashiguri D$hri-ele*
8hestnuts+ 1!83E, 'a$ks a -lea$ depa$tu$e ($o' othe$ 3apanese 1e$se ,ith its $e2e-tion o( base
,it and use o( hi&hly a$ti-ulate di-tion $e'inis-ent o( 8hinese poet$y. "he appea$an-e o(
Fuyu no Hi DA )inter Day+ 1!85E, a -olle-tion o( (i1e $enku inspi$ed by the season, ,ith its
'a$kedly ly$i-al tone, si&naled the be&innin& o( Bash9s 'atu$e poeti- style. *n (a-t the 1e$ses
,e$e -onside$ed so di((e$ent ($o' p$e1ious haiku that the ,o$d shofu Dhaiku in the Bash
'anne$E ,as -oined to des-$ibe the'. *n Bash9s -ont$ibutions to the 1olu'e, 7atu$e9s
&$andeu$ and (o$-e is used to e0p$ess the beauty the poet obse$1ed in the ,o$ld. Bash also
enun-iates the abst$a-t beauty, o$ yugen, ,hi-h lies 2ust behind the appea$an-e o( the ,o$ld.
Bash9s dia$y o( his (i$st pil&$i'a&e, 'he .e1or*s of a )eather+6:pose* $keleton, althou&h
not one o( his best p$ose ,o$ks, also $e1eals a shi(t in style and se$iousness o( sub2e-t. "he
do'inant the'e o( that ,o$k is the sea$-h (o$ enli&hten'ent.
*n 1!8! the antholo&y Haru no Hi DA $pring DayE ,as -o'piled by (ollo,e$s o( Bash,
$e1ised by hi', and published in Ayoto. "hese poe's e0p$ess the attitude o( $e(ined
t$an?uility that see's to belie a deepe$ $eality. "he antholo&y -ontains pe$haps Bash9s 'ost
(a'ous haiku: 6n old pond R a ($o& 2u'ps in R splashS "he si'pli-ity o( the 1e$se is the
$esult o( a 'ethodi-al $e2e-tion o( -o'pli-ation+ as one -$iti- has noted, not the si'pli-ity
,ith ,hi-h one sta$ts but $athe$ that ,ith ,hi-h one ends.
*n the late 1!8%s Bash published (ou$ t$a1el 2ou$nals, ashima ik/ DA Visit to the ashima
$hrine+1!8JE+ $arashina ik/ DA Visit to $arashina Village+ 1!88E+ Oi no o!umi D'he
.e1or*s of a 'ra-el+)orn $at1hel+ 1!88E+ and 'he Narro7 .oa* to the Deep North( "he last
o( these is pe$haps the best o( Bash9s t$a1el dia$ies and one o( his &$eatest lite$a$y
a-hie1e'ents. *t uses a 'i0tu$e o( haiku and hai!un, a p$ose style in the (ashion o( the haiku.
6--o$din& to the -$iti- @akoto <eda, the ,o$k is based on the idea o( sa!i Dlite$ally
lonelinessE, the -on-ept that one attains pe$(e-t spi$itual se$enity by i''e$sin& onesel( in
the e&oless, i'pe$sonal li(e o( 7atu$e. "he idea o( the -o'plete abso$ption o( one9s e&o into
the 1astness o( the uni1e$se is an unde$lyin& the'e in 'u-h o( his poet$y ,$itten du$in& his
'atu$e yea$s, in-ludin& that ,hi-h appea$ed in the antholo&ies $arunimo D'he "onkey;s
.ain1oat+ 1!91E and $umi*a7ara DA $a1k of 8har1oal+ 1!93E. Ho,e1e$, in these last ,o$ks
the se$iousness is te'pe$ed by the p$in-iple o( li&htness, ,hi-h 'akes it possible (o$ one to
attain deta-h'ent ($o' the ,o$ld ,hile en&a&in& in it, $e-o&niCin& and a--eptin& ,ith 2oy the
i'pe$'anen-e o( li(e. "he late$ poe's a$e -ha$a-te$iCed by a li&hthea$tedness that takes a
deta-hed and s'ilin& attitude to daily e0isten-e ,hile a-kno,led&in& the e0t$ao$dina$iness o(
the ,o$ld.
Bash9s 'a2o$ poeti-al ,o$ks, kno,n as the $e-en Anthologies of the Bash/ $1hool, ,e$e
published sepa$ately ($o' 1!8K to 1!98, but they ,e$e not published to&ethe$ until 1JJK. 7ot
all o( the app$o0i'ately 2,5%% 1e$ses in the Bash antholo&ies a$e by Bash, althou&h he is
the p$in-ipal -ont$ibuto$. 6s in the ea$lie$ antholo&ies, in these 1olu'es Bash o((e$s in
addition to his o,n ,o$k -o''ents on the 1e$ses o( the othe$ ,$ite$s.
Critical Reception
Bash had ea$ned a -onside$able $eputation as a poet by 1!8%, ,hen his ,o$k be&an to appea$
in nu'e$ous antholo&ies. *n ea$ly 1!8% he appa$ently b$ou&ht out a s'all book o( his o,n
1e$ses that he dist$ibuted to his ($iends, ,hi-h only haiku 'aste$s ,e$e pe$'itted to do. His
in-$easin& $eno,n and status as a lite$a$y 'aste$ as ,ell as his 'ate$ial and a$tisti- su--ess
-aused hi' to ha1e se1e$al -$ises, as he st$u&&led ,ith his spi$itual desi$e to t$ans-end
,o$ldly a((ai$s and his 1o-ation as a poet. .o'e -$iti-s ha1e a$&ued that the p$in-iples o( sabi
and li&htness that appea$ in Bash9s late$ ,o$k a$e a $esult o( his atte'pt to $e-on-ile this
inne$ st$u&&le.
Bash -ontinued to be 1ene$ated as one o( the &$eat 'aste$s o( 3apanese lette$s (o$ se1e$al
-entu$ies a(te$ his death, and any ne&ati1e -$iti-is' o( his poet$y ,as -onside$ed sa-$ile&ious.
He ,as dei(ied in 1J93 by the .hinto hie$a$-hy. "o,a$ds the end o( the nineteenth -entu$y,
,hen 'any 3apanese be&an to e'b$a-e 4este$n notions o( indi1idualis' and the e'phasis on
the poet9s pe$sonal e'otions, so'e -o''entato$s be&an to publish ad1e$se $e'a$ks on his
,o$k. Ho,e1e$, the ne&ati1e -$iti-is' had the e((e-t o( inspi$in& debate on the uni1e$sality o(
Bash9s use o( haiku, and 3apanese -$iti-s be&an to 1ie, his ,o$k not only in the -onte0t o(
the haikai t$adition but (o$ its endu$in& inte$est and appeal. *n the t,entieth -entu$y, 4este$n
poets and -o''entato$s be&an takin& a se$ious inte$est in Bash and the haiku (o$' in
&ene$al. 6'e$i-an poets in-ludin& ;C$a #ound and .a' Ha'ill ha1e taken thei$ inspi$ation
($o' the $a, si'pli-ity o( Bash9s 1e$ses, and -$iti-s ha1e o((e$ed al'ost unani'ous p$aise
(o$ his ele&ant style and la-k o( p$etension in dis-ussin& spi$itual 'atte$s. @any ha1e paid
pa$ti-ula$ attention to the in(luen-e o( Ien in his ,o$k, ,hi-h $e1eals itsel( in a lo1e (o$ his
(ello, hu'an bein&s and the natu$al ,o$ld despite thei$ i'pe$'anen-e. *n the ;ast and in the
4est, Bash -ontinues to be p$aised as a poet o( sup$e'e deli-a-y o( senti'ent, the
p$o&enito$ o( 'ode$n haiku, and the &$eatest poet e1e$ to ,$ite in that (o$'.
@atsuo Bash by Ha$old /ould Hende$son
in: 'he Bam!oo .oom: An Intro*u1tion to 2apanese Haiku, Hou&hton @i((lin 8o'pany,
193K, pp. 18K2.
.ho$tly a(te$ 1!%% the -haos o( -i1il ,a$ that had p$e1ailed (o$ -entu$ies ,as b$ou&ht to an
end, and "oku&a,a *yeyasu established the sho&unate that ,as to i'pose pea-e on 3apan (o$
t,o hund$ed and (i(ty yea$s. *n 1!38, unde$ the thi$d sho&un, a -o'pletely pa-i(ied 3apan ,as
o((i-ially isolated ($o' the ,o$ld, and in 1!KK @atsuo Bash ,as bo$n.
Bash ,ould p$obably ha1e been a poet in any a&e, but that in ,hi-h he (ound hi'sel( ,as
pe-ulia$ly (a1o$able (o$ the de1elop'ent and app$e-iation o( his &enius. 5i(e (o$ all ,as on-e
'o$e stable and se-u$e+ (o$ the (i$st ti'e a $i-h and leisu$ed bou$&eoisie ,as bein& bo$n+ and
sa'u$aiH'en o( the ,a$$io$ -lassH,ho -ould no lon&e$ tu$n thei$ ene$&ies to the a$ts o(
,a$, natu$ally tu$ned the' to the a$ts o( pea-e. 6nd o( these a$ts poet$y ,as one o( the 'ost
popula$.
6t the a&e o( ei&ht Bash, ,ho ,as o( sa'u$ai blood, ,as sent to the -astle o( his dai'yo, the
lo$d o( *&a. "he$e he be-a'e the pa&e o( the dai'yo9s son, 5o$d .en&in, a lad 2ust a (e, yea$s
olde$ than Bash hi'sel(. Bo$ (ou$teen yea$s the t,o li1ed in -lose -o'panionship, ,ith
.en&in not so 'u-h Bash9s 'aste$ as his ($iend and &uide and olde$ b$othe$. B$o' .en&in
Bash lea$ned the a$t o( poet$y as it ,as then kno,n, and to&ethe$ they studied the hokku o(
the day+ espe-ially the s-hool o( "eitoku, o( -ou$se, and also that o( Ai&in. 6t the end o( the
(ou$teen yea$s 5o$d .en&in suddenly died, and ,ithin t,o 'onths Bash had &one to the
'onaste$y at Aoyasan and had T$enoun-ed the ,o$ld.U
"he$e -an be no doubt that Bash ,as utte$ly b$oken up at the death o( his 'u-hlo1ed
'aste$, and that the i'p$ession it 'ade in(luen-ed his enti$e li(e. .o'e t,enty yea$s late$
Bash ,ent ba-k to *&a in the sp$in&, and stood a&ain unde$ the -he$$y t$ees ,he$e he and
.en&in had ,o$ked and played so lon&, and ,ith a hea$t too (ull to 'ake a no$'al poe' all he
-ould say ,as:
>h, 'any, 'any thin&s
6$e b$ou&ht to 'ind
By -he$$yblosso'sH
Ho,e1e$, thou&h Bash had de(initely &i1en up Tthe ,o$ld,U this did not 'ean that he
-on(ined hi'sel( to a 'onaste$y, and ,e ne0t hea$ o( hi' at Ayoto studyin& haiku unde$
Ai&in. 4hen Ai&in ,ent to Gedo Dthe p$esent "okyoE Bash (ollo,ed hi'+ and t,o yea$s
late$, ,hen he ,as thi$ty, Bash sta$ted a s-hool o( his o,n, takin& as his (i$st pupil a youn&
boy ,ho a(te$,a$d be-a'e (a'ous in his o,n $i&ht unde$ the na'e o( Aikaku.
Bash took his poet$y se$iously, and soon 'ade a na'e (o$ hi'sel( as a haiku'aste$+ but his
,o$k, thou&h sin-e$e, ,as not at (i$st $adi-ally di((e$ent ($o' that o( his -onte'po$a$ies.
"hen, ,hen he ,as about thi$tyei&ht, so'ethin& happened to hi'. He announ-ed that his li(e,
si'ple as it ,as, ,as Ttoo ,o$ldlyU+ he in1ented a ne, (o$' o( haiku+ and he be&an the
se$ious study o( IenHthe Buddhist se-t ,hi-h &i1es 'ost attention to -onte'plation and to
,hat 'ay be -alled natu$al 'ysti-is'. *t ,as a(te$ this, in the last ten yea$s o( his li(e, that
nea$ly all o( Bash9s &$eat poet$y ,as ,$itten.
Bash9s (i$st poe' in the ne, style ,as the (a'ous:
>n a lea(less bou&h
6 -$o, is sittin&+Hautu'n,
:a$kenin& no,H
"his di((e$s ($o' all p$e1ious haiku in that the 'ood is p$odu-ed by a si'ple des-$iption. *t is
a plain state'ent o( (a-ts ,hi-h 'ake a pi-tu$e. "he$e is no e0p$ession o( (eelin&, and, on the
su$(a-e at least, no use o( si'ile o$ 'etapho$.
*n $eadin& Bash9s late$ poe's the i'po$tant thin& to $e'e'be$ is that he had an all
e'b$a-in& lo1e (o$ hu'an bein&s and the thin&s o( Tthis passin& ,o$ld,U and that he ,as so
i'bued ,ith the spi$it o( Ien that to hi' e1e$ythin& ,as an e0p$ession o( ulti'ate Reality.
"he ne, spi$it that Bash put into haiku -an in so'e ,ays be best illust$ated by di$e-t
-o'pa$ison ,ith the ea$lie$ se1enteensyllable poe's. 7ea$ly e1e$y poet had at so'e ti'e o$
othe$ -eleb$ated the -he$$y blosso's o( Goshino, and none 'o$e su--ess(ully than "eishitsu.
V But ,hen Bash says:
"hin shanksS ;1en so,
4hile * ha1e the':Hblosso'-o1e$ed
Hills o( GoshinoS
he is sayin& so'ethin& ?uite ne,. "his is not 'e$ely: THo, beauti(ul they a$eSU 6s it is haiku,
its (ull 'eanin& -annot be put into ,o$ds, and its -onnotations ha1e to be (elt $athe$ than
-lea$ly thou&ht out. >( -ou$se it is an e0p$ession o( the e1e$lastin& hu'an st$u&&le (o$ beauty,
a&ainst odds+ (o$ the poe' is i'pe$sonal in that Bash is thinkin& o( othe$ st$u&&le$s as ,ell
as o( hi'sel(. But behind it all is Bash9s ete$nal -on-ent$ation on the beauty o( the 6bsolute
,hi-h 'akes the poe' a deepe$ alle&o$y still.
*( this ,e$e the only poe' that Bash had e1e$ ,$itten one 'i&ht ,onde$ ,hethe$ the poet
$eally put into it all the deep 'eanin& that one (inds. But the p$oo( is o1e$,hel'in& that,
-ons-iously o$ un-ons-iously, Bash did put into his late$ haiku all the 'eanin& that anyone
-an (ind, and p$obably 'u-h 'o$e. .o'e o( the' a$e di$e-t $e-o$ds o( se'i'ysti-
e0pe$ien-e. >ne day ,hile he ,as 2ou$neyin& th$ou&h Aiso, Bash lost his ,ay in a (o& in the
'ountains. Bo$ ,hat see'ed like hou$s he (elt his ,ay alon& a na$$o, and dan&e$ous path, at
ea-h step &ettin& nea$e$ and nea$e$ to the sound o( a $ushin& to$$ent (a$ belo, hi'.
"$e'blin&, he tu$ned a -o$ne$+ the (o& ,as blo,n a,ay, and he ,as out in b$i&ht sunli&ht at
the head o( a little $usti- b$id&e suspended o1e$ a deep &o$&e. 5ookin& at the blue sky abo1e,
at the ,hite ,ate$ belo,, at the tan&led &$asses and the 1ine,$apped t$ees that -li'bed the
steep side o( the -le(t, he ,as -a$$ied out o( hi'sel( -o'pletely. 7ot kno,in& ,hi-h ,as sky
o$ t$ees and ,hi-h ,as Bash, he (ound hi'sel( al'ost un-ons-iously e0-lai'in&:
6$ound e0isten-e t,ine
D>h, b$id&e that han&s a-$oss the &o$&eSE
Ropes o( t,isted 1ine.
"his poe' has all the 'eanin& that anyone -an (ind, thou&h Bash natu$ally had no ti'e to
think it all out -ons-iously in detail. "he asso-iation o( ideas ,hi-h -onne-ts the han&in&
b$id&e ,ith the $est o( the poe' is 'undane as ,ell as 'etaphysi-al, (o$ $usti- suspension
b$id&es o( this type a-tually ,e$e 'ade ,ith $opes o( t,isted 1ines.
But e1en those poe's that a$e appa$ently 'ost t$i1ial ha1e unde$lyin& 'eanin&. "ake (o$
e0a'ple:
>h, these sp$in& daysS
6 na'eless little 'ountain,
*n the 'o$nin& haCeH
>n the su$(a-e this is 2ust a -ha$'in& s-ene, and a tende$ness (o$ -o''on, o$dina$y thin&s.
But a t$ained haiku$eade$ ,ill see 'o$e+ and ,e -an see it too ,hen ,e $ealiCe that this poe'
,as ,$itten at 7a$a, ,hi-h is su$$ounded by na'ed 'ountains ,hose (a'e in 3apan is se-ond
to that o( Bu2i only. 6nd behind it all, thou&h he$e possibly ?uite un-ons-ious, is Bash9s
ete$nal -on-ent$ation on the beauties o( the 6bsolute: T*( e1en the beauties o( this ,o$ld -an
be su&&ested only by an indi$e-t app$oa-h V SU
"o Bash haiku ,e$e 'eans o( e0p$essin& his deepest e'otions, and the$e is a (a'ous tale
that illust$ates ,hat he (elt about the'. >ne day ,hen he and his pupil, Aikaku, ,e$e &oin&
th$ou&h the (ields, lookin& at the da$tin& d$a&on(lies, Aikaku 'ade a se1enteensyllable 1e$se:
TRed d$a&on(liesS
"ake o(( thei$ ,in&s,
6nd they a$e peppe$podsSU
T7oSU said Bash, Tthat is not haiku. *( you ,ish to 'ake a haiku on the sub2e-t you 'ust say:
TRed peppe$podsS
6dd ,in&s to the',
6nd they a$e d$a&on(liesSU
Bash9s bestkno,n ,o$k is Oku no Hosomi1hi, Distant By7ays, a -olle-tion o( notes o( a
si0'onths 2ou$ney ,hi-h sta$ted ($o' Gedo in the sp$in& o( 1!89, ,ent th$ou&h pa$ts o(
no$the$n 3apan, and ended at the sa-$ed sh$ine o( the .un/oddess at *se. *t is ?uite sho$tHit
-ould be t$anslated into ;n&lish in about ten thousand ,o$dsHand it -ontains only about (i(ty
o( Bash9s haiku. Get it is undoubtedly one o( the &$eat ,o$ks o( 3apanese lite$atu$e, and it
has p$obably been annotated and -o''ented on 'o$e than any othe$ ,o$k o( its siCe in the
,o$ld. 8o''ent is un(o$tunately ne-essa$y as Bash9s style is al'ost like a sho$thand, and he
is -onstantly 'akin& allusions ,hi-h ,e$e -lea$ in his o,n day, but ,hi-h a$e not -lea$ no,.
"he book is absolutely unp$etentious, and so a$e the haiku, ,hi-h a$e an inte&$al pa$t o( the
te0t. .o'e a$e si'ple des-$iptions o( a 'ood p$odu-ed by the s-ene$y, as:
8ool it is, and still:
3ust the tip o( a -$es-ent 'oon
>1e$ Bla-k,in& Hill.
>the$s de$i1e thei$ -hie( inte$est ($o' ,hat they sho, o( the pe$sonality o( Bash. Bo$
instan-e, one day at the be&innin& o( @ay he -a'e to a -e$tain 1illa&e. 6t that ti'e, in
p$epa$ation (o$ the Boy9s Besti1al o( @ay 5th, e1e$y household ,ith a boy in it ,ould be
(lyin&, ($o' the top o( tall (la&poles, &$eat pape$ st$ea'e$s 'ade to look like -a$p. Bash does
not say anythin& about this, as all 3apanese ,ould kno, it natu$ally, but a'on& othe$ thin&s
he tells ho, he ,ent to the lo-al te'ple and had tea the$e. He (ound that this te'ple p$ese$1ed
as its &$eatest t$easu$es the s,o$d o( Goshitsune, 3apan9s (a1o$ite he$o, and the po$table alta$
that used to be -a$$ied by the 'onk Benkei, the st$on& 'an ,ho be-a'e Goshitsune9s 'ost
noted $etaine$. Bash then inse$ts the haiku:
6lta$ o( BenkeiS
Goshitsune9s s,o$dS V >h, (ly
"he -a$p in @ayS
a poe' ,hose 'eanin& 'ay see' a little obs-u$e at (i$st si&ht, but ,hi-h, thou&h not deep, is
-ha$'in& ,hen it is thou&ht out.
6nd then a little late$ he -o'es to the $uins o( "akadate 8astle, ,he$e Goshitsune and his last
(aith(ul (ollo,e$s ,e$e killed. B$o' this spot he -ould see the plains o( Hi$aiCu'i, the site o(
the &olden te'ples o( 8huCon2i, and othe$ (a'ous pla-es, at that ti'e &$een (ields o$ ,aste
land, ,he$e in (o$'e$ a&es 'any 'i&hty ,a$$io$s had li1ed in splendo$. Bash tells ho, he
-li'bed up to the -astle, thinkin& o( by&one &lo$ies, and he adds ,hat is p$obably the 'ost
dis-ussed haiku in the lan&ua&e:
"he su''e$ &$asses &$o,.
>( 'i&hty ,a$$io$s9 splendid d$ea's
"he a(te$&lo,.
"his is a 1e$y inade?uate t$anslation. *t la-ks the 'a$tial $oll o( tsu7amono*omo ga, and
Td$ea'sU does not su&&est as ,ell as yume does Tsplendo$,U T&lo$ious deeds,U and Tli1es that
ha1e passed like a d$ea'.U @ost o( all it la-ks the -$a-k o( ato, a ,o$d that is al'ost
unt$anslatable. Ato is lite$ally Tthe a(te$,a$dsU and is usually t$anslated as $esult, t$a-es,
(ootsteps, ,ake, $eli-s, $uins, et-., dependin& on the -onte0t.
T.u''e$ &$assesS
"he a(te$,a$ds o( ,a$$io$s9 d$ea'sSU
'i&ht be a bette$ t$anslation. D*( only, like Hu'pty :u'pty, ,e -ould 'ake ,o$ds do 'o$e
than thei$ p$ope$ ,o$k (o$ usSE But e1en this ,ould tend to obs-u$e the 'eanin& o( the poe',
,hi-h is not only that su''e$ &$asses a$e no, &$o,in& on the sites o( (o$'e$ splendo$, but
also that the &$asses b$in& to 'e'o$y the d$ea's ,hi-h like the' &$e, and blosso'ed and
diedHand 'any othe$ thin&s besides. Bo$ a poe' su-h as this the$e is nothin& to do e0-ept
$e(e$ the $eade$ a&ain to the o$i&inal.
*n haiku, ,hen t,o ideas a$e balan-ed, they a$e to be -o'pa$ed ($o' 'any an&les. .o$a,
Bash9s pupil and (ello,t$a1ele$, indi-ates one o( these an&les in the -o'panion 1e$se that he
-o'posed on the sa'e o--asion:
*n deutCia(lo,e$s the$e
>ne see's to see old Aane(usa9s
.no,,hite hai$ V
But this o( -ou$se is si'ply the appli-ation o( pa$t o( Bash9s thou&ht to a pa$ti-ula$ instan-e.
"he &$eat dan&e$ (o$ the -o''entato$ is that o( talkin& too 'u-h, so pe$haps it ,ould be as
,ell to (inish these e0t$a-ts ($o' Oku no Hosomi1hi by lettin& Bash speak (o$ hi'sel(. He is
$epo$tin& a -on1e$sation ,ith one o( his ($iends ,ith ,ho' he is stayin& in the p$o1in-e o(
>shuHthe T:istant 8ount$yU:
@y host asked (i$st: T6t the -$ossin& o( the .hi$aka,a Ba$$ie$, ,hat poe' did you -o'pose=U
T"he t$oubles o( the lon& 2ou$ney had ti$ed 'e in body and 'ind, and 'o$eo1e$, * ,as -a$$ied
a,ay by the s-ene$y and the oldti'e (eelin& that it e1oked, so that * ,as not in any -ondition
to -o'pose a poe' at the 'o'ent. But thinkin& it a pity to pass in silen-e, * &a1e this one:
He$e is $e(ine'ent9s sta$t:
.on&s at the plantin& o( $i-e(ields,
*n the -ount$y9s (a$thest pa$t.U
* &a1e hi' this (o$ an ans,e$, and ,e added a se-ond and a thi$d 1e$se to it, and so 'ade it
into a renga Da linked 1e$seE.
@any pa&es o( -o''ent ha1e been ,$itten about this poe', and 'any e0planations o( it ha1e
been &i1en. >ne is that Bash, -o'in& as he did st$ai&ht ($o' the ult$a$e(ine'ent o( the
-apital, ,as st$u-k ,ith the (a-t that he$e ,as its basis, (inan-ial as ,ell as histo$i-al. 6nothe$,
that Bash ,ished to point out the ne-essa$y -onne-tion bet,een t$ue $e(ine'ent and natu$al
si'pli-ity. 6 thi$d, and the 'ost 'ode$n, is that Bash ,as si'ply payin& a -o'pli'ent to
>shu. "he poe' 'eans di((e$ent thin&s to di((e$ent people, and the $eade$ 'ay take his
-hoi-e.
>n all his 2ou$neys Bash natu$ally &$a1itated to the so-iety o( poets, and ,ould o(ten stop (o$
days -o'posin& haiku and renga ,ith the'. *t ,as seldo' that he ,as, as he$e, at a loss (o$ a
poe' on any sub2e-t, and the$e a$e natu$ally 'any sto$ies o( his $eadiness in -o'position.
>ne o( the bestkno,n is his ans,e$ to a 2okin& $e?uest to -o'pose a haiku on the T;i&ht
Nie,sU o( 5ake Bi,a. *t should be e0plained that these a$e all 1e$y (a'ous in lite$atu$e and
a$t, and that one o( the T1ie,sU is T"he Bell o( @ii "e'ple,U ,hose tone is -onside$ed
su$passin&ly lo1ely. 6lso that the point o( the 2oke ,as that the$e did e0ist a ,ellkno,n tanka
o( thi$tyone syllables in ,hi-h, by a se$ies o( ,o$dplays, all ei&ht 1ie,s a-tually a$e
'entioned by na'e. Bash natu$ally -ould not 'at-h this in se1enteen syllables, e1en i( he
had been ,illin& to stoop to su-h t$i-ke$y, but he &ot out o( the dile''a 1e$y p$ettily ,ith:
;i&ht Nie,s=H6h, ,ell,
@ist hid se1en ,hen * hea$d
@iide$a9s BellS
#e$haps this poe' is not a 1e$y p$o(ound one, thou&h 'ost o( Bash9s haiku ha1e 'o$e to
the' than 'eets the eye at (i$st. But othe$s sho, 1e$y -lea$ly his ete$nal -on-ent$ation on the
6bsolute. >( -ou$se ,e 'ust $e-onst$u-t (o$ ou$sel1es the -i$-u'stan-es in ,hi-h they ,e$e
,$itten, and ,e -an i'a&ine Bash and his (ello,t$a1ele$s -o'in& out to sta$t thei$ 'o$nin&
2ou$neyHpossibly a(te$ an e1enin& spent in dis-ussion o( 7i$1ana and the ?uest o( Reality
,hi-h ea-h 'an has to take aloneH,hen Bash tu$ns to the' and says:
@o$nin&&lo$iesSH.eeS
HHH6nd these also a$e not
8o'panions (o$ 'eS
Ha poe' st$an&ely $e'inis-ent o( ,hat has been -alled the 'ost poi&nant *ndian e0p$ession
o( the sense o( the ete$nal 'o1e'ent and unsubstantiality o( li(e, .anti :e1a9s: T4ho is a
kins'an, and ,ho a ($iend, and unto ,ho'=U
Bash usually t$a1eled ,ith at least one pupil o$ -o'panionHso'eone ,ho ,ould
unde$stand ,hen he t$ied to put an inde(inable e'otion into ,o$ds. "hus ,hen he -a'e to the
THa&iU "a'a&a,a Done o( the si0 T3e,el Ri1e$sU in 3apanE and sa, the ha&i the$e Da so$t o(
bush -lo1e$ ,ith &$a-e(ully d$oopin& b$an-hesE s,ayin& in the ,ind, he -ould be su$e o(
ha1in& his (eelin& app$ehended ,hen he said:
Ha&i does not spill
"he s'all ,hite de,d$ops, thou&h its ,a1es
6$e ne1e$ still V
Bo$ (o$ei&ne$s ,ho a$e be&innin& haiku, it 'ay be ne-essa$y to say that thou&h this poe' is,
on the su$(a-e, si'ply a des-$iption o( hagi, its -onnotations -annot be app$e-iated ,ithout
$ealiCin& that ,hene1e$ de,d$ops a$e 'entioned 'ost -ultu$ed 3apanese i''ediately
asso-iate the' ,ith (leetin& hu'an li1es.
*n any outline o( Bash9s poe's it is i'possible to lea1e out o( -onside$ation the 'ost (a'ous
haiku o( allHthe haiku that Bash hi'sel( -onside$ed the standa$d (o$ his ne, style:
6n an-ient pond+
#lash o( the ,ate$
4hen a ($o& 2u'ps in.
@any -o'petent -$iti-s ha1e (ound in this a deep and esote$i- 'eanin&+ othe$s ha1e
-onside$ed it too da$kly 'yste$ious to unde$stand at all. #e$haps so'e li&ht 'ay be th$o,n by
the (a-t that the last t,el1e syllables ,e$e the (i$st to be -o'posed and the (i$st (i1e ,e$e
added only a(te$ a dis-ussion in ,hi-h se1e$al alte$nati1es had been p$oposed. *( a (o$ei&ne$
'ay 1entu$e an opinion on su-h hi&h 'atte$s it ,ould be that Bash had e0pe$ien-ed and
,ished to $e-o$d a sense o( pea-e and ?uiet and -o'plete se$enity. 8e$tainly, Tplash o( the
,ate$ ,hen a ($o& 2u'ps inU does &i1e this (eelin& di$e-tly, (o$ the$e 'ust ha1e been e0te$nal
?uiet (o$ the sound to ha1e been hea$d, and inte$nal ?uiet (o$ it to ha1e been noti-ed st$on&ly
enou&h to 'ake Bash -o'pose a poe' about it.
4hethe$ o$ not this is the p$ope$ $eadin& o( the Told pondU poe', at least it is -e$tain that in
'any o( his late$ haiku Bash does $e-o$d a st$on& e'otion by the si'ple des-$iption o( an
appa$ently uni'po$tant (a-t. "hus (o$ e0a'ple:
4hy, as it (ell
4ate$ that ,as in it spilled.
8a'ellia bellS
is on the su$(a-e 2ust the des-$iption o( a -a'elliabloo' ,hi-h does (all all at on-e instead o(
pie-e'eal. "hou&h it 'ay see' thin at (i$st si&ht, the e((e-t is 'u-h like that o( the plash o(
,ate$ in the old pond+ and it should also be noted that this poe' is a (a1o$ite a'on& the
3apanese.
*n 1!9K Bash died, and died as he ,ould ha1e ,ished, on one o( his belo1ed ,ande$in&s,
and su$$ounded by 'any o( his ($iends and pupils. :u$in& his illness he ,as -onstantly
dis-ussin& $eli&ion and philosophy and poet$y Dth$ee thin&s that ,e$e al'ost one to BashE,
and ,hen it be-a'e e1ident that he ,as dyin&, his ($iends asked hi' to &i1e the' his death
poe'Hthe su' o( his philosophy. Bash $e(used, on the &$ound that e1e$y poe' in his last
ei&ht yea$s, sta$tin& ,ith the Told pondU haiku, had been -o'posed as i( it ,e$e a deathpoe'.
But on the ne0t 'o$nin& he -alled the' to his bedside, sayin& that du$in& the ni&ht he had
d$ea'ed, and that on ,akin& a poe' had -o'e to hi'. 6nd he &a1e the':
>n a 2ou$ney, illH
6nd 'y d$ea's on ,ithe$ed (ields
6$e ,ande$in& still.
.u$ely as lo1ely a (a$e,ell as any poet e1e$ &a1e to the ,o$ld.
6 (e, 'o$e t$anslations a$e added ,ithout -o''ent. But it 'i&ht be ,ell to $e'ind the
be&inne$ in haiku that thou&h all these poe's ha1e 'o$e to the' than is on the su$(a-e, (e, i(
any o( the' should be $ead as alle&o$ies in the o$dina$y sense, and all o( the' a$e p$i'a$ily
pi-tu$es. 6bbW :i'net
1
su&&ests that ,e should all 'ake notes o( those e0pe$ien-es ,hi-h ,e
,ould like to $e'e'be$. "hese notes, he says, should be Tb$ie( enou&h to p$e-lude the dan&e$
o( ,hat the Neda -alls puttin& ,o$ds bet,een the t$uth and ou$sel1es,U and at the sa'e ti'e
T(ull enou&h to be -lea$ to (utu$e, i.e. al'ost alien, $e$eadin&.U *( ,e -onside$ Bash9s late$
haiku as notes o( this kind in poeti- (o$', ,e shall not &o (a$ ,$on& in ou$ app$e-iation o(
the'.
IN ISUMO CLIFF
Ho, $ou&h the seaS
6nd, st$et-hin& o(( to .ado *sle,
"he /ala0y. V
ON THE HEIGHTS
He$e on the 'ountainpass
.o'eho, they d$a, one9s hea$t soH
Niolets in the &$assS
DUSK
6 1illa&e ,he$e they $in&
7o bellsSH>h, ,hat do they
do
6t dusk in sp$in&=
PERSISTENCE
.oS 6nd did it yell
"ill it be-a'e all 1oi-e=
8i-adashellS
THEY ALSO
"he usually hate(ul -$o,sS
"hey also, V on a 'o$nin&
4hen it sno,s V
THE END
5eanin& on thei$ sta1es,
6ll the household, ,hitehai$edH
Nisitin& the &$a1esS
AN INVITATION
4hy not -o'e and see
5onelinessS V >ne lea(let
B$o' the ki$it$ee V
A REMEMBRANCE
.no, that ,e t,o
5ooked at to&ethe$Hthis yea$
*s it (allen ane,=
TRANSIENT BEAUTY
6hS Bi$st sno,S
;nou&h to 'ake na$-issuslea1es
Bend lo,S
INTO THE DARKNESS
Ballin& o( the ni&ht
<pon the sea, and ,ild du-ks9 1oi-es
.hado,y, and ,hite V
He$e,ith ends this b$ie( int$odu-tion to haiku, and * -an only hope that the inte$est and beauty
o( these little poe's ha1e not been ,holly lost in the p$o-ess o( &i1in& the' an ;n&lish
uni(o$'.
"he haiku(o$' is pe-ulia$ly 3apanese, but * belie1e 'ost st$on&ly that it has -ha$a-te$isti-s
,hi-h t$ans-end the ba$$ie$s o( lan&ua&e and o( nationality, and ,hi-h (it it (o$ a spe-ial pla-e
a'on& the (o$'s o( >--idental poet$y. 4hat the (inal ;n&lish haiku(o$' ,ill be, * do not
kno,. *t 'ay be t,o lines, o$ th$ee, o$ (ou$+ it 'ay be $i'ed o$ un$i'ed. But * a' su$e that
,hate1e$ it is, it ,ill be a de(inite (o$', for a haiku is a poem an* not a *ri!!le of prose(
Note
1. *n T"he 6$t o( "hinkin&,U by ;$nest :i'net. .i'on P .-huste$, 7.G. 1929.
@atsuo Bash: "he #oeti- .pi$it, $a!i, and 5i&htness,
by @akoto <eda
in: 3eami, Bash/, 4eats, 5oun*: A $tu*y in 2apanese an* 6nglish 5oeti1s, @outon P 8o.,
19!5, pp. 35!K.
XIn the follo7ing e:1erpt, <e*a argues that Bash/;s poeti1 1on1epts of =fragran1e,>
=re-elation,> =refle1tion,> an* =lightness>?7hi1h 1on1ern ho7 the =poeti1 spirit> 1an !e
re-eale* in a poem?are manifestations of the poet;s i*eas a!out life, in1lu*ing his religious
pessimism, pragmati1 optimism, feu*alisti1 1on-entionalism, an* !ourgeois li!eralism(Y
@atsuo Bash,
1
the poet ,ho pe$(e-ted the haiku as a se$ious a$t (o$', sho,s a 'a$ked
$ese'blan-e to Iea'i in so'e $espe-ts. *n a sense he ,as a 'edie1al poet li1in& in a 'ode$n
a&e. He de-la$ed his adhe$en-e to 'edie1al 3apanese poets su-h as .ai&y and .&i, and, like
the', he (ollo,ed the (ootsteps o( 5i #o and "u Bu in his ,ay o( li(e. He ,as also 'u-h
att$a-ted to Buddhis', pa$ti-ula$ly to Ien Buddhis'. @edie1al Buddhis' t$ied to sa1e 'en
($o' li(e9s to$tu$es by the 'otto: @editate on death. 6lthou&h he ne1e$ ente$ed the
p$iesthood, Bash ,as o(ten a he$'it ,ho (ound 'eanin& in li(e th$ou&h -onte'plation o(
death. "he$e ,e$e, ho,e1e$, so'e un'istakable t$aits o( 'ode$nity in Bash, too. His haiku,
unlike 7aka
2
o$ the n/, ,as distin-tly an a$t (o$ -o''on people. *t $e?ui$ed neithe$ an
elabo$ate -ostu'e, -lassi-al s-hola$ship, no$ -ou$tly ele&an-e o( style. Bash9s haiku is
-ha$a-te$iCed, a'on& othe$ thin&s, by -ollo?uialis' and hu'o$. *t does not des-$ibe hea1en
and hell+ it (inds its 'ate$ials in e1e$yday li(e. *t does not &$ie1e o1e$ the 'utability o( li(e+ it
&aCes at 'an9s 'o$tality ,ith s'ilin& eyes. *n Bash, to 'editate on death does not
ne-essa$ily deny the pleasu$es o( li(e. He sees li(e and death ($o' a distan-e, ($o' a pla-e
,hi-h t$ans-ends both.
Bash ,$ote no syste'ati- t$eatise on the a$t o( haiku( 4he$eas Iea'i t$ied to p$e1ent (utu$e
dete$io$ation o( his a$t by lea1in& its se-$ets only to the best?uali(ied o( his (ollo,e$s, Bash
t$a1eled (a$ and ,ide, and e0tended his tea-hin& to anyone inte$ested in haiku( *t see's he
tau&ht di((e$ent thin&s to di((e$ent pe$sons+ at ti'es, t,o o( his tea-hin&s a$e so di((e$ent that
the one al'ost see's to -ont$adi-t the othe$. #e$haps Bash ,anted to -ulti1ate his pupils9
talents $athe$ than to i'pose his o,n theo$y upon the'. >$, pe$haps, he did not app$o1e o(
any (i0ed do-t$ine in haiku( "he latte$ point ,as 'editated on by Bash hi'sel(, ,ho
de1eloped it into the idea o( pe$'anen-e and -han&e in a$t.
Bash9s -o''ents on pe$'anen-e and -han&e ,e$e 'ade on 1a$ious o--asions, and
appa$ently not al,ays ,ith e0a-tly the sa'e i'pli-ation. Get his -ent$al idea is su((i-iently
-lea$ in the (ollo,in& $e'a$k, $e-o$ded by :oh:
3
*n the @aste$9s a$t the$e is that ,hi-h $e'ains un-han&ed (o$ thousands o( yea$s+ the$e is also
that ,hi-h sho,s a te'po$a$y -han&e. ;1e$y one o( his ,o$ks is as-$ibable to the one o$ the
othe$, and these t,o ?ualities a$e the sa'e in essen-e. "his -o''on essen-e is a t$ue poeti-
spi$it. >ne does not $eally unde$stand the haiku unless he kno,s the pe$'anent style. "he
pe$'anent style is the one ,hi-h is (i$'ly based on the t$ue poeti- spi$it, i$$espe-ti1e o( the
,$ite$9s ti'e o$ o( the -onte'po$a$y (ashion V >n the othe$ hand, it is a p$in-iple o( natu$e
that thin&s -han&e in nu'e$ous ,ays. *n haiku, too, nothin& ne, ,ill be bo$n unless it
t$ans(o$'s itsel( ,ith ti'e.
K
6n a$tist al,ays ai's at the uni1e$sal, yet t$ies not to lose his identity. Bash, (a-in& the
dile''a, atte'pts to (ind a solution in a diale-ti-. He app$o1es o( both styles, pe$'anent and
te'po$a$y+ a pe$'anent poe' is &ood be-ause it e'bodies an ete$nal t$uth, and a
(ashionable poe' also is inte$estin& be-ause it has ($eshness. Get, as Bash sees it, they a$e
$eally the sa'e in essen-e. ;1e$ythin& -han&es in ou$ li(e+ -han&e is the only pe$'anent thin&.
4e obse$1e seasonal -han&es, but they a$e e?ually the 'ani(estations o( the (o$-e in natu$e:
(lo,e$s, lea1es, ,inds, -louds, sno,Hthey a$e -$eated by a sin&le spi$it in natu$e. .i'ila$ly,
the$e is a poeti- spi$it ,hi-h lies in all &$eat ,o$ks o( a$t. "his spi$it is ti'eless+ only the
,ays in ,hi-h it is e0p$essed 'ay -han&e as ti'e &oes on. >ne o( Bash9s dis-iples, Ayo$ai,
5

loosely inte$p$ets this as a dualis' o( substan-e and 'anne$. "he inte$p$etation is 1alid
only in a li'ited sense: substan-e 'ust 'ean -e$tain in&$edients ,hi-h &i1e a ti'eless
?uality to the poe', ,hile 'anne$ should i'ply an indi1idual ,ay in ,hi-h this ?uality is
e0p$essed.
"he ne0t ?uestion, and a 1e$y i'po$tant one, is e0a-tly ,hat Bash 'eans by the te$', a
poeti- spi$it. His ans,e$ see's to be su&&ested in one o( his 'ost (a'ous passa&es:
"he$e is one -o''on ele'ent ,hi-h pe$'eates .ai&y9s 7aka, .&i9s linked 1e$se, .esshQ9s
paintin&, and RikyQ9s tea -e$e'ony. *t is a poeti- spi$it, th$ou&h ,hi-h 'an (ollo,s the
-$eati1e ene$&y o( natu$e and 'akes -o''union ,ith the thin&s o( the (ou$ seasons. Bo$ those
,ho unde$stand the spi$it, e1e$ythin& they see be-o'es a lo1ely (lo,e$, and e1e$ythin& they
i'a&ine be-o'es a beauti(ul 'oon. "hose ,ho do not see the (lo,e$ a$e no di((e$ent ($o'
ba$ba$ians+ those ,ho do not i'a&ine the (lo,e$ a$e no di((e$ent ($o' beasts. :eta-h you$sel(
($o' ba$ba$ians and beasts+ (ollo, the -$eati1e ene$&y and $etu$n to natu$e.
!
*n othe$ ,o$ds, Bash belie1es that the$e a$e t,o types o( 'en, those ,ho possess a poeti-
spi$it, and those ,ho do not. 4hile the latte$ type o( people a$e blind to natu$al beauty, the
(o$'e$ seek it in e1e$y possible ,ay and the$eby t$y to es-ape ($o' the -ollisions o( e1e$yday
li(e. .ai&y, .&i, .esshQ and RikyQ ,e$e en&a&ed in di((e$ent b$an-hes o( a$t+ but ,hat 'ade
the' &$eat ,as the sa'eHthe $e-o&nition o( beauty in the -$eation o( the uni1e$se. "he
$e-o&nition, 'o$eo1e$, ,as o( a pa$ti-ula$ kind: it ,as spontaneous, intuiti1e pe$-eption
,hi-h ,as possible only ,hen the spe-tato$ identi(ied hi'sel( ,ith a natu$al ob2e-t, o$ ,ith
the ene$&y (lo,in& in the ob2e-t Hen-e -o'es the notion o( $etu$n to natu$e.
"his -on-ept natu$ally leads Bash to the idea that an a$tist should inse$t no e0p$ession o( his
indi1idual e&o into his ,o$k. :oh has $e-o$ded:
"he @aste$ on-e said: 5ea$n about pines ($o' pines, and about ba'boos ($o' ba'boos.
4hat he 'eant ,as that the poet 'ust deta-h hi'sel( ($o' his ,ill. .o'e people, ho,e1e$,
inte$p$et the ,o$d lea$n in thei$ o,n ,ays and ne1e$ $eally lea$n. 5ea$n 'eans to
sub'e$&e onesel( ,ithin an ob2e-t, to pe$-ei1e its deli-ate li(e and (eel its (eelin&, out o(
,hi-h a poe' (o$'s itsel(. 6 poe' 'ay -lea$ly delineate an ob2e-t+ but, unless it e'bodies a
(eelin& ,hi-h has natu$ally e'e$&ed out o( the ob2e-t, the poe' ,ill not attain a t$ue poeti-
(eelin&, sin-e it p$esents the ob2e-t and the poet as t,o sepa$ate thin&s. .u-h is a ,o$k o(
a$ti(i-e 'ade by the poet9s ,ill.
J
Beauty in natu$e is a 'ani(estation o( a sup$e'e -$eati1e (o$-e ,hi-h (lo,s th$ou&h all thin&s
in the uni1e$se, ani'ate and inani'ate. "his (o$-e, it 'ust be st$essed, is di((e$ent ($o' the
-$eati1e po,e$ o( an indi1idual physi-al bein&. "he ene$&y o( the uni1e$se is i'pe$sonal+ it
p$odu-es the sun and the 'oon, the sky and the -louds, the t$ees and the &$ass. "he ene$&y o(
indi1idual 'an is pe$sonal+ it $oots in his -ons-ious ,ill, in his passions and desi$es, in his
e&otis'. But 'an, bein& pa$t o( the uni1e$se, also has i'pe$sonal ene$&y ,ithin hi', an
ene$&y ,hi-h he sha$es ,ith the -os'os. *t is this ene$&y ,hi-h e1e$y poet 'ust ,o$k ,ith in
his -$eati1e a-ti1ity. Bash, the$e(o$e, does not sha$e the 1ie, that a poet puts his o,n
e'otion into a natu$al ob2e-t and &i1es ai$y nothin& a lo-al habitation and a na'e. >n the
-ont$a$y, he belie1es that a poet should annihilate his pe$sonal e'otion o$ ,ill (o$ the sake o(
i'pe$sonal ene$&y ,ithin hi', th$ou&h ,hi-h he 'ay $etu$n to the -$eati1e (o$-e that (lo,s in
all ob2e-ts in natu$e. >ne 'ay attain this ideal state th$ou&h a de1oted -onte'plation o( a
natu$al ob2e-t. >ne should t$y to ente$ the inne$ li(e o( the ob2e-t, ,he$eupon he ,ill see its
deli-ate li(e and tou-h its (eelin&. "his ,ill be done only in a $eal' ,he$e the sub2e-ti1e
and the ob2e-ti1e 'eet, o$ $athe$, ,he$e the sub2e-ti1e app$oa-hes and be-o'es at one ,ith
the ob2e-ti1e. 6 poe' is a spontaneous -$eation o( a 'an in su-h a state. *t is so'ethin&
,hi-h natu$ally -o'es out o( this $eal', and not the $esult o( (o$-ed ,ill o$ lo&i-al thinkin&.
"he identi(i-ation o( the sel( and the e0te$nal ob2e-t, o( -ou$se, is an illo&i-al a-t o( intuition
and is done in an instant o( ti'e. *t is, ($o' the poet9s point o( 1ie,, an instantaneous
pe$-eption o( hidden $eality. Bash e'phasiCes this as :oh $e-o$ds his ,o$ds and e0plains
the':
>n -o'posin& haiku the @aste$ on-e -o''ented: *( you &et a (lash o( insi&ht into an ob2e-t,
put it into ,o$ds be(o$e it (ades a,ay in you$ 'ind. He also said: "oss out the (eelin& to the
su$(a-e o( you$ poe'. "hese tea-hin&s 'ean that one should set his poeti- (eelin& into (o$'
instantly a(te$ he &ets into the $eal', be(o$e the (eelin& -ools o((. *n -o'posin& haiku the$e
a$e t,o ,ays: be-o'in& and 'akin&. 4hen a poet ,ho has al,ays been assiduous in
pu$suit o( his ai' applies hi'sel( to an e0te$nal ob2e-t, the -olo$ o( his 'ind natu$ally
be-o'es a poe'. *n the -ase o( a poet ,ho has not done so, nothin& in hi' ,ill be-o'e a
poe'+ he, -onse?uently, has to 'ake out a poe' th$ou&h the a-t o( his pe$sonal ,ill.
8
.u&&estin& that poeti- -$eation is a 'o'enta$y a-t o( inspi$ation, Bash ad1ises that a poet
should ne1e$ 'iss the inspi$ed 'o'ent. "he 'o'ent is ,hen the poet &ets a (lash o( insi&ht
into an ob2e-t, a 'o'ent o( -o''union bet,een the sub2e-ti1e and the ob2e-ti1e. 6 poe' is
a $esult o( the poet9s un-ons-ious a-t and not o( his ,ill+ a poet does not 'ake a poe',H
so'ethin& in hi' natu$ally be-o'es a poe'. "he inspi$ed 'o'ent, ho,e1e$, does not
-o'e upon anyone at any 'o'ent+ ea-h poet should -onstantly st$i1e to 'ake it -o'e
th$ou&h 'editation and -on-ent$ation. Get, ,hen the 'o'ent -o'es, the poet9s 'ind is
de1oid o( pe$sonal ,ill+ it is -o'pletely t$anspa$ent, ,he$eupon an e0te$nal ob2e-t dyes it in
its o,n -olo$ and -$eates a beauti(ul pi-tu$e. Bash uses the te$' haiku ,ithout othe$
thou&hts in des-$ibin& the ideal sta&e o( poeti- a-hie1e'ent.
9
;1idently he $e(e$s to a state o(
'ind in ,hi-h the$e is no i'pu$e ele'ent, no pe$sonal ele'ent o( the poet ,hi-h ,ould stain
the ,hiteness o( his soul at the 'o'ent.
"his -on-ept see's to -o'e -lose to Baudelai$e9s idea o( -o$$esponden-e.
1%
Baudelai$e, in
$e1olt a&ainst the s-ienti(i- spi$it o( his ti'e, put (o$th his 'ysti-al 'ethod o( -o&nition in his
,ellkno,n poe', 8o$$esponden-es. *nstead o( $e-o&niCin& an e0te$nal e0isten-e th$ou&h
one9s sub2e-ti1e a,a$eness, the B$en-h poet p$oposes to ,ande$ a'on& sy'bols o( natu$e and
ha1e -lose -o''union ,ith it. 6 s-ienti(i- analysis -an only p$esent an ob2e-t as an
in-o'plete a--u'ulation o( pa$ts+ Baudelai$e9s 'ethod enables one to (eel an ob2e-t in its
entity, in a supe$hu'an ,o$ld o( ha$'ony. "he aspe-ts o( -o$$esponden-e ,hi-h he points out
in 8o$$esponden-es a$e t,o: a -o$$esponden-e bet,een 'an and natu$e, and that bet,een
di((e$ent hu'an senses. Both aspe-ts see' to e0ist in Bash9s -on-ept o( poet$y. "he (i$st ,e
ha1e al$eady seen, and ,e shall dis-uss the se-ond a little late$.
Bash9s 'ode o( pe$-eption is thus ?uite di((e$ent ($o' that o( s-ien-e, but it also sho,s a
depa$tu$e ($o' that o( t$aditional 3apanese poet$y. *ndeed, -lassi-al 3apanese poet$y is (illed
,ith -o''union bet,een 'an and natu$e, yet in it 'an 'o'enta$ily identi(ies hi'sel( ,ith
natu$e in o$de$ to e0p$ess his e'otion. )aka poets e0p$ess thei$ e'otions th$ou&h the
ob2e-ts they see and hea$, as a (a'ous 3apanese state'ent on the natu$e o( poet$y &oes. *n
Bash9s 1ie,, ho,e1e$, e0te$nal $eality is the p$i'a$y ele'ent in poeti- -$eation. 4e ha1e
al$eady seen ho, Bash ad1ised a poet to ne&ate his pe$sonal ,ill in o$de$ to pe$-ei1e the
deli-ate li(e o( a natu$al ob2e-t. He $e'a$ks in anothe$ passa&e: :o not ne&le-t natu$al
ob2e-ts at any ti'e.
11
6t the $oot o( his thinkin& lies the idea: 4hen ,e obse$1e the'
-al'ly, ,e noti-e that all thin&s ha1e thei$ (ul(il'ent.
12
6 pine t$ee li1es its o,n li(e, a
ba'boo (ul(ils its o,n destiny+ a pine ne1e$ t$ies to be-o'e a ba'boo, o$ a ba'boo does not
en1y the li(e o( a pine. 6 poet, the$e(o$e, should lea$n ($o' a pine thin&s about a pine, and
($o' a ba'boo thin&s about a ba'boo. Bash $e'a$ks, as $e-o$ded by :oh:
"he @aste$ said: 8han&es in natu$e a$e said to be the seed o( poeti- spi$it. 8al' thin&s sho,
the aspe-ts o( pe$'anen-e. 6-ti1e thin&s $e1eal the -han&es. <nless a poet $e-o$ds ea-h
-han&e at that 1e$y 'o'ent, he ,ill ne1e$ be able to $e-o$d it. By the ,o$d T$e-o$dU * 'ean to
$e-o$d by pe$-ei1in& o$ hea$in&. Blosso's (ly, lea1es (all, they lie s-atte$ed on the &$ound+
unless a poet pe$-ei1es o$ hea$s these pheno'ena ,ithin the pheno'ena, he ,ill ne1e$
su--eed in $e-o$din& the' in his hea$t.
13
"he idea e'bodied in the (i$st hal( o( this passa&e is little di((e$ent ($o' that o( 7aka, but the
se-ond hal( is typi-al o( haiku( 4he$eas 7aka poets ,ould sin& o( (allin& blosso's to 'ou$n
o1e$ thei$ lost lo1e, Bash thinks that a pheno'enon 'ust be seen ,ithin the pheno'enon
and not ($o' a hu'an point o( 1ie,. *n haiku, o$ at least in the haiku o( the Bash s-hool, ,e
do not (ind a pe$sonal e'otion e0p$essed as ,e do in 7aka o$ in 4este$n poet$y in &ene$al.
6ppa$ently, this 1ie, o( poet$y ,as $ooted in Bash9s attitude to,a$d li(e. >$, pe$haps,
Bash9s de1otion to poet$y 'oti1ated his attitude to,a$d li(e+ (o$, Bash9s 1ie, o( li(e is ,hat
,e 'ay -all an aestheti- 1ie,. He looks at li(e in the sa'e 'anne$ as one looks at a ,o$k o(
a$t. 4e ha1e noted that Bash dis-ou$a&ed the int$usion o( a pe$sonal e'otion into -$eati1e
p$o-ess. *n (a-t he ,ent a step (a$the$+ he p$oposed to 'ini'iCe the a-ti1ity o( a pe$sonal
e'otion in a-tual li(e as ,ell. #e$sonal e'otions a$e di((i-ult to &et $id o( ,hen ,e &et
ou$sel1es in1ol1ed in the st$u&&les o( li(e+ Bash su&&ests that ,e -an a1oid the in1ol1e'ent
i( ,e 1ie, ou$ li(e ($o' an aestheti- distan-e. 4e do not t$y to -han&e ou$ so-iety+ ,e only
-han&e ou$ attitude to,a$d so-iety, ,e (a-e ou$ so-iety in the sa'e 'anne$ as ,e see a
paintin&, hea$ 'usi-, o$ $ead a poe'. 4e en2oy a sto$y o( ,a$ sin-e ,e a$e not in a ,a$
ou$sel1es+ ,e shall en2oy ou$ li(e 'o$e, in Bash9s 1ie,, i( ,e do not (ollo, the utilita$ian
,ays o( li(e. Bash9s ideal li(e is, in his ,o$ds, to en2oy li(e by bein& indi((e$ent to ,o$ldly
inte$ests, by (o$&ettin& ,hethe$ one is youn& o$ old. He -ontinues:
6 (oolish 'an has 'any thin&s to ,o$$y about. "hose ,ho a$e t$oubled ,ith sin(ul desi$es
and be-o'e e0pe$t in so'e a$t o$ anothe$ a$e pe$sons ,ith a st$on& sense o( $i&ht and ,$on&.
But so'e ,ho 'ake a$t the sou$-e o( thei$ li1elihood $ouse thei$ hea$ts in an&e$ in the hell o(
&$eed and d$o,n the'sel1es in a s'all dit-h+ they a$e unable to keep thei$ a$t ali1e.
1K
>ne ,ay to t$ans-end ,o$ldly in1ol1e'ents is to be-o'e a poetHa haiku poet. Bash says:
"he haiku is like a (i$epla-e in su''e$ o$ a (an in ,inte$. 8ont$a$y to the popula$ needs, it
has no i''ediate utility.
15
>( -ou$se a poet, bein& a 'an also, -annot be -o'pletely deta-hed ($o' ,o$ldly -on-e$ns+ he
has to eat, ,ea$ -lothes, li1e in a house. He 'ay do all these thin&s, yet the i'po$tant thin& is
not to be bothe$ed ,ith a desi$e to possess 'o$e than enou&h. "his is a si&ni(i-ant point at
,hi-h Bash9s poeti- spi$it di((e$s ($o' he$'itis' o$ as-eti-is'. 6 he$'it o$ an as-eti-
i'poses se-lusion o$ abstinen-e upon hi'sel(. Bash, on the othe$ hand, does not $e2e-t the
thin&s o( the ,o$ld+ he only ad1ises us to look at the' ($o' a distan-e, ,ithout -o''ittin&
ou$sel1es to the'. "he haiku poet9s attitude to,a$d li(e is that o( a bystande$. 6 'an ,ith an
i'pulsi1e te'pe$a'ent o$ a st$on& desi$e ,ill (ind it di((i-ult to be-o'e a haiku poet+ pe$haps
su-h a 'an ,ould bette$ &o to $eli&ion in o$de$ to attain se$enity o( 'ind. "he haiku $e?ui$es a
passi1e, leisu$ely pe$sonality by its 1e$y natu$e.
*n haiku, the$e(o$e, the$e is no passionate e'otion, no st$on& senti'ent. "he$e is only the
shado, o( an e'otion, o$ a 1a&ue 'ood. *nstead o( 2oy, the$e is a (o$'less at'osphe$e a$isin&
($o' happiness+ instead o( &$ie(, the$e is a 'ood 1a&uely su&&estin& ?uiet $esi&nation. "he$e
is, (o$ instan-e, a (a'ous (a$e,ell poe' ,hi-h Bash -o'posed upon lea1in& (o$ a distant
2ou$ney:
.p$in& is &oin& V
Bi$ds ,eep, and the eyes o( (ish
a$e (illed ,ith tea$s.D1!E
6 lon& 2ou$ney th$ou&h $u$al a$eas o( no$the$n 3apan ,as ahead o( hi', and he ,as old,
si-kly, and not su$e o( his sa(e $etu$n. But the$e is no pe$sonal &$ie( in the poe'. Bash9s
senti'ent is depe$sonaliCed. *t is sp$in& that &oes+ it is bi$ds and (ish that ,eep. "he$e is no
a-ute pain+ the$e is only a 1a&ue sadness ,hi-h (ills natu$e. "o take anothe$ e0a'ple, he$e is a
poe' ,hi-h Bash ,$ote as he 'ou$ned o1e$ his dis-iple9s death:
*n the autu'n ,ind
lies, so$$o,(ully b$oken,
a 'ulbe$$y sti-k.D1JE
8o'pa$e this ,ith anothe$ poe' by Bash ,hi-h des-$ibes dead &$ass in ,inte$:
6ll (lo,e$s a$e dead.
>nly a so$$o, lies, ,ith
the &$assseeds.D18E
*t is $ou&hly the sa'e 'ood that p$e1ails o1e$ these t,o poe's, althou&h the o--asions ,ould
ha1e e1oked ,idely di((e$ent e'otions in an o$dina$y pe$son. *t ,as not that Bash ,as
inhu'an+ he ,as only unhu'an. "his ele'ent be-o'es 'o$e ob1ious in his bette$ poe's:
Muietness V
"he -i-adas9 1oi-e
penet$ates the $o-ks.D19E
"he $ou&h sea V
Ba$ o1e$ .ado *sle, e0tends
the @ilky 4ay.D2%E
/athe$in& the $ains
o( 3une, ho, s,i(tly (lo,s
the @o&a'i Ri1e$SD21E
*n these pie-es the$e is little t$a-e o( the e'otion ,hi-h the poet o$i&inally had on ea-h
o--asion. 6ll that ,e &et is the (eelin& o( the ?uiet, the 1ast, o$ the s,i(t. "he poet ne1e$ says
happy o$ sad, ,onde$(ul o$ dis&ustin&. He only -$ystaliCes the (eelin& o( natu$e. 7atu$e has no
pe$sonal e'otion, but it has li(e. "he best o( Bash9s haiku -at-h this li(e th$ou&h -e$tain
'oods ,hi-h su$$ound it.
"his ?uality at on-e e0plains the t,o (unda'ental p$e$e?uisites o( haiku ,hi-h a$e obse$1ed
e1en today: the se1enteen syllable (o$', and the $ule $e?ui$in& a ,o$d su&&esti1e o( a season.
"he haiku is an e0t$e'ely sho$t poe', no$'ally -onsistin& o( th$ee lines ,ith (i1e, se1en and
(i1e syllables ea-h. "he 7aka is sho$t, too, but it is still lon& enou&h to e0p$ess one9s e'otion
in the (o$' o( a state'ent. "he haiku does not pe$'it the poet eithe$ to e0plain, to des-$ibe, o$
to state+ an idea, o$ a senti'ent, ,ill ne1e$ be (ully put (o$th ,ithin the spa-e o( se1enteen
syllables. "his is a pe$(e-t 'ediu' (o$ the haiku poet ,ho a1oids a syste'ati- p$esentation o(
an idea o$ e'otion+ it $e?ui$es hi' to depe$sonaliCe his e'otion, i( he e1e$ has one, th$ou&h
an ob2e-t in natu$e. He$e -o'es in the se-ond p$e$e?uisite o( haiku, that a haiku 'ust -ontain
a ,o$d $e(e$$in& to a season o( the yea$. 6 pe$sonal senti'ent, i( any, ,ill be-o'e a thin& o(
natu$e in the poe'. Bu$the$'o$e, unlike a 7aka poet, the haiku ,$ite$ -annot &o th$ou&h a
p$o-ess in ,hi-h he sta$ts ,ith his o,n (eelin& and then (inds an ob2e-t ,hi-h ,ill best
e0p$ess that (eelin&+ his best ob2e-ti1e -o$$elati1e 'ay not happen to be a thin& $elated to a
season. "he haiku poet 'ust be&in ,ith a natu$al ob2e-t o$ ob2e-ts outside o( hi'sel(+ e1en
thou&h he has an e'otion in hi'sel(, he has to sub'e$&e it in an outside ob2e-t, ,he$eupon a
-e$tain 'ood a$ises ,hi-h ,ould 1a&uely su&&est the o$i&inal (eelin& but ne1e$ set it in the
(o$e&$ound o( the poe'.
*t is $ele1ant, in this -onne-tion, to obse$1e the histo$i-al de1elop'ent o( 3apanese poet$y and
the o$i&in o( the haiku (o$'. 4hen the ea$liest antholo&y o( 3apanese poet$y ,as -o'piled in
the ei&hth -entu$y, the$e ,e$e t,o 1e$se(o$'s: the 7aka ,ith thi$tyone syllables and the
1h/ka ,ith an inde(inite nu'be$ o( syllables. 6(te$ the latte$ (o$' be-a'e obsolete, the
(o$'e$ ,ent a do,n,a$d ,ay as it lost ($eshness and 1itality. *n the tenth and ele1enth
-entu$ies the 7aka ,as a playthin& in the -ou$t -i$-les, ,ho, e0-ept (o$ a (e, &enuine poets,
used the (o$' to display thei$ ,it o$ s-hola$ship, to e0p$ess thei$ o1e$senti'ental lo1e o$
sense o( li(e9s t$ansien-e. .o'e ti'e a$ound 12%% a $ea-tion set in+ the ne, poets, still usin&
the 7aka (o$', tu$ned ($o' the poet$y o( intelle-t to that o( 'ood, ($o' the 1e$se o( state'ent
to that o( su&&estion. *n -ont$ast ,ith an o$dina$y 3apanese poe' ,hi-h (ollo,s the usual
senten-e st$u-tu$e endin& ,ith the p$edi-ate 1e$b, the poet o( this ti'e o(ten ended his poe'
,ith a noun, lea1in& out the p$edi-ate 1e$b+ the $eade$ ,as e0pe-ted to supply the 1e$b by
hi'sel(, to -o'plete the poe' in his o,n i'a&ination. "he poet, instead o( -o'posin& a sel(
-ontained entity, -$eated a poe' ,hi-h le(t so 'any thin&s unsaid that the $eade$ (elt need to
supple'ent the poe' by -$eatin& anothe$ poe' by hi'sel(. "he linked 1e$se ste''ed ($o'
this t$adition+ one set o( linked 1e$se ,as a 2oint p$odu-t o( se1e$al poets ,ho supple'ented
ea-h othe$9s i'a&ination and -o'pleted ea-h othe$9s ,o$k. 4hat they ai'ed at ,as a -$eation
o( so'e uni?ue 'ood, deli-ate, &$a-e(ul and ha$'onious. #$esently, the openin& stanCa o(
linked 1e$se be-a'e independent and took the (o$' o( ,hat ,e no, -all haiku( "he
independen-e o( haiku ($o' linked 1e$se 'a$ked a $e1olution in the histo$y o( 3apanese 1e$se.
4hat so$t o( $e1olution it ,as, o$ ho, the haiku di((e$ed ($o' the 7aka in 'ood, ,ill be
(u$the$ dis-ussed late$ in this -hapte$, in -onne-tion ,ith li&htness. 5et it su((i-e he$e to
note that the haiku (o$' ,as not a -asual in1ention o( a &enius but an o((sp$in& o( an a&elon&
t$adition.
Bash, ho,e1e$, did not talk 'u-h about the $ules o( haiku (o$' o$ o( a season ,o$d, no$ did
he st$i-tly p$ohibit a depa$tu$e ($o' the'. *n (a-t he hi'sel( -o'posed 'any poe's ,ith
'o$e than se1enteen syllables, as ,ell as a (e, poe's ,ith no season ,o$d. >n the othe$
hand, the$e ,e$e -e$tain ideas on 1e$se,$itin& ,hi-h Bash positi1ely insisted on. 8hie(
a'on& the' ,e$e sa!i, shiori, hosomi, inspi$ation, ($a&$an-e, $e1e$be$ation,
$e(le-tion, and li&htness. "hey a$e di((e$ent ($o' ea-h othe$, as the te$'s a$e di((e$ent.
But they ha1e one thin& in -o''on, the poeti- spi$it. "he (i$st th$ee and li&htness
desi&nate -e$tain attitudes to,a$d li(e, and, as ,e shall see p$esently, they all ste' ($o' the
sa'e basi- 1ie, o( li(e that unde$lies the poeti- spi$it. "he $e'ainin& (ou$ a$e -on-e$ned ,ith
the te-hni?ue o( haiku -o'position+ they 'ake -lea$ -e$tain ,ays in ,hi-h the poeti- spi$it
-an be 'ade 'ani(est in a poe'.
"he ,o$d sa!i ste's ($o' an ad2e-ti1e sa!ishi, ,hi-h lite$ally 'eans lonely o$ desolate.
Bash hi'sel( ne1e$ used the te$' sa!i in his ,$itin&, but he did use sa!ishi( >ne o( the
instan-es appea$s in a poe' ,hi-h he ,$ote ,hile li1in& alone at a lonely te'ple:
@y so$$o,(ul soul V
@ake it (eel 'o$e loneso'e,
you, a -u-koo.D22E
.o$$o, is a pe$sonal e'otion, ,hile loneliness, in this -onte0t, is an i'pe$sonal 'ood e0istent
in a -u-koo9s 1oi-e. "he poet, as it ,e$e, ,ants the pu$i(i-ation o( his soul, the t$ans(o$'ation
o( the pe$sonal into the i'pe$sonal. $a!i see's to i'ply su-h an i'pe$sonal e'otionHa
'ood. *t is not pe$sonal loneliness, but a lonely 'ood latent in natu$e. "he sa'e point is
su&&ested in Ayo$ai9s ,ellkno,n passa&e on sa!i:
$a!i $e(e$s to the -olo$ o( a poe'. *t does not 'ean the e'otion o( loneliness e'bodied in the
poe'. $a!i is like ,hat ,e (eel about an a&ed 'an, ,hethe$ he (i&hts in battle(ield ,ea$in& a
suit o( a$'o$, o$ attends a ban?uet ,ith a b$o-ade &a$'ent on. $a!i 'ay lie eithe$ in a &ay
poe' o$ in a t$an?uil one. * shall ?uote a poe' (o$ illust$ation:
<nde$ the blosso's
t,o ,at-h'en talk, ,ith thei$ ,hite
heads to&ethe$.
"he @aste$ said that the sa!i -olo$ ,as 1e$y ,ell e0p$essed in this poe'.
23
Ayo$ai, lea$nin& ($o' Bash, a$&ues that sa!i lies not in the substan-e o$ te-hni?ue but in the
-olo$ o( a poe'. 8olo$ see's to 'ean the ?uality o( the 'ood ,hi-h the poe' e'bodies.
"he poe' 'ay deal ,ith a li1ely pa$ty s-ene o$ a ?uiet -ount$y li(e+ but the 'ate$ials do not
'u-h 'atte$, the i'po$tant thin& is the at'osphe$e ,hi-h pe$'eates the poe'. 6 poet 'ay,
(o$ e0a'ple, depi-t lo1ely -he$$yblosso's in (ull bloo', yet the -olo$ o( his poe' 'ay be
that o( sa!i be-ause the poe' also p$esents t,o a&ed 'en ?uietly talkin& unde$ the blosso's.
By -ont$astin& ,hite hai$ ,ith pink blosso's, the poet su&&ests the -o'in& (all o( the
blosso's, a destiny (o$ both 'en and the ob2e-ts o( natu$e. But the poe' by no 'eans
la'ents o1e$ the 'utability o( li(e+ it si'ply des-$ibes a s-ene, out o( ,hi-h a$ises a 'ood
a'bi&uously pointin& to,a$d sadness o$ loneliness. Bash9s ,ay o( sayin& it is that the poe'
has the -olo$ o( sa!i(
$a!i, then, is a poeti- 'ood 1a&uely pointin& to,a$d a -e$tain 1ie, o( li(e. "his 1ie, o( li(e is
-alled 7a!i( )a!i o$i&inally 'eant sadness o( po1e$ty. But &$adually it -a'e to 'ean an
attitude to,a$d li(e, ,ith ,hi-h one t$ied to $esi&n hi'sel( to st$aitened li1in& and to (ind
pea-e and se$enity o( 'ind e1en unde$ su-h -i$-u'stan-es. #eople -onside$ed sadness as an
una1oidable -ondition o( li1in& in this ,o$ld+ they endea1o$ed to o1e$-o'e it by &ettin&
the'sel1es a--usto'ed to the in-on1enien-es o( li(e. Bash liked to t$a1el, p$i'a$ily (o$ this
$eason. He ,$ites:
@y st$a, hat ,as ,o$n out by $ain on the ,ay, and 'y $obe too ,as -$u'pled up th$ou&h the
sto$'s * had 'et he$e and the$e. @y appea$an-e ,as so e0t$e'ely shabby that e1en * 'ysel(
(elt a little sad. *t 2ust o--u$$ed to 'e that 'any yea$s a&o a &i(ted -o'i-1e$se ,$ite$ had
t$a1eled in this p$o1in-e. "he$eupon * too -o'posed a -o'i- haiku:
*n the ,int$y &ust
* ,ande$, like 8hikusai
the -o'i- poet.D2KE
He$e a&ain the poet subdues his &$ie( by lookin& at hi'sel( ($o' a distan-e. His situation is
sad enou&h ($o' an o$dina$y 'an9s point o( 1ie,+ he hi'sel( says he (elt sad. But he steps
ba-k,a$ds ($o' 1ital (eelin&s o( li(e, he looks at his o,n situation as i( it ,e$e so'eone
else9s+ then he $ealiCes that the situation is not sad but e1en a little hu'o$ous. .u-h an attitude
is the late$ i'pli-ation o( 7a!i( $a!i, p$i'a$ily an aestheti- -on-ept, is -losely asso-iated ,ith
7a!i, a philosophi-al idea. $a!i, as ,e ha1e obse$1ed, is not an e'otion but an i'pe$sonal
'ood+ the p$o-ess o( depe$sonaliCation is done th$ou&h 7a!i, in ,hi-h the poet looks at
hi'sel( and his e'otion ($o' a distan-e, as i( lookin& at so'e natu$al ob2e-t. #e$sonal so$$o,
be-o'es uni1e$sal loneliness+ sadness o1e$ t$ansien-y o( li(e be-o'es a 1a&ue 'ood a$isin&
($o' it.
>( shiori Ayo$ai has $epeatedly said: $hiori in poet$y does not 'ean a poe' ,ith the (eelin&
o( pity,
25
shiori and a poe' ,ith the (eelin& o( pity a$e di((e$ent,
2!
and so (o$th. "his
i'plies that shiori and pity a$e (ai$ly -lose, and that the people o( his ti'e o(ten -on(used the
t,o. "he di((e$en-e, a--o$din& to Ayo$ai, is that shiori does not lie in the topi- o$ di-tion o$
'ate$ial o( the poe' ,hile pity does. $hiori, ,$ites Ayo$ai, lies in the (o$' o( a poe'.
2J

6nd he says else,he$e: $hiori is a su&&ested (eelin&.
28
B$o' these -o''ents ,e 'ay
&athe$ that shiori is a -e$tain 'ood a$isin& ($o' the poe' itsel( $athe$ than ($o' the
in&$edients o( the poe', and that it is so'e,hat -lose to pity but di((e$s ($o' it in that it is not
a pe$sonal (eelin&. "he -o'ple0 'eanin& o( shiori 'ay be t$a-ed ba-k to its double o$i&in.
"he te$' shiori ste's ($o' a 1e$b shioru, ,hi-h 'eans to bend o$ to be (le0ible.
>$i&inally, the$e(o$e, shiori see's to ha1e been used in des-$ibin& a poe' ,hi-h is not sti((
o$ st$ai&ht(o$,a$d in e0p$ession but is (le0ible in 'eanin& and allo,s se1e$al le1els o(
inte$p$etation. Get it so happened that the$e ,as anothe$ 1e$b shioru, ,$itten di((e$ently and
de-lined di((e$ently but p$onoun-ed the sa'e, des-$ibin& a ,ithe$ed (lo,e$ o$ a ($ust$ated
'an. "his i'pli-ation see's to ha1e (ound its ,ay into the noun shiori and -o'bined itsel(
,ith the o$i&inal 'eanin& o( the te$'. "hus shiori, in its late$ usa&e, des-$ibes a poe' ,hi-h
allo,s se1e$al le1els o( 'eanin& all o( ,hi-h ha1e the -o''on unde$tone o( sadnessHi( ,e
unde$stand sadness to be an i'pe$sonal 'ood as distin-t ($o' pity ,hi-h is a pe$sonal
(eelin&. 6 poe' o( pity ,ould -ontain an intense, pe$sonal e'otion as ,e o(ten see in a di$&e
o$ ele&y. 6 poe' o( shiori, on the othe$ hand, ,ould e'body an inde(inable, a'bi&uous
'ood su$$oundin& the (eelin& o( pity+ the $eade$ ,ould ,onde$, (o$ e0a'ple, ,hethe$ the
poe' is about a pa$ti-ula$ pe$son9s death, o$ about 'an9s 'o$tality in &ene$al, o$ about the
passin& o( su''e$. "he a'bi&uity o( 'eanin& ,idens the s-ope o( the poe'+ it ele1ates a
pe$sonal (eelin& to the uni1e$sal. Ayo$ai ?uotes a poe' ,hi-h Bash thou&ht had the ?uality
o( shiori:
"he "en :u'plin&s
ha1e be-o'e s'alle$ too.
"he autu'n ,ind VD29E
"he "en :u'plin&s, so -alled be-ause they a$e sold in units o( ten by st$in&in& the' to&ethe$,
a$e a spe-ial p$odu-t o( a s'all 'ountain 1illa&e in -ent$al 3apan. *t is autu'n+ t$a1ele$s ha1e
be-o'e (e,e$ and (e,e$. "he 1illa&e$s, ,ho 'ake thei$ li1in& by sellin& du'plin&s to
t$a1ele$s, a$e no, in a st$aitened state+ thei$ du'plin&s, as a -onse?uen-e, ha1e be-o'e
s'alle$. "he 'ood ,hi-h p$e1ails o1e$ the poe' is ,hat ,e 'ay -all sadness. But, ,e ask,
,hat is the sadness di$e-ted to,a$d= "o,a$d the lo-al 1illa&e$s= "o,a$d the (ate o( 'ankind,
$ep$esented by the 1illa&e$s= "o,a$d the poet hi'sel(, the lonely t$a1ele$= "o,a$d the
su''e$ that has &one= >$ to,a$d both 'an and natu$e that 'ust -han&e ,ith ti'e= "he ,o$d
too and the 1e$bless last line lea1e the ,hole 'eanin& a'bi&uous+ ne1e$theless the 'ood
,hi-h -o'es out o( it &i1es us a uni(o$' i'p$ession o( sadness. "he (eelin& o( pity, ,hi-h the
poet o$i&inally (elt to,a$d the 1illa&e$s, is uni1e$saliCed by the a'bi&uity ,hi-h the poe'
e'bodies. 4hile the 'ood o( sa!i is based on a -e$tain philosophi-al attitude, that o( shiori
-o'es out o( the a'bi&uity in 'eanin&. Both o( these 'oods ha1e a -e$tain, al'ost identi-al
unde$tone, althou&h, pe$haps, shiori has a &$eate$ i'pli-ation o( sadness than o( loneliness.
Iea'i also had a notion si'ila$ to shiori and e0p$essed it in a si'ila$ te$': ,e $e'e'be$ his
'etapho$ o( a ,ithe$in& (lo,e$ in des-$ibin& the e((e-t o( a supe$b n/ pe$(o$'an-e. His
shiori, ho,e1e$, see's to di((e$ ($o' Bash9s in t,o 'ain $espe-ts. Bi$st, it st$i-tly (ollo,s
the i'pli-ation o( ou$ se-ond 1e$b shioru, ,hi-h 'eans to ,ithe$. Iea'i9s idea,
-onse?uently, does not i'ply (le0ibility o$ a'bi&uity. .e-ondly, Iea'i9s shiori al,ays see's
to ha1e its -ont$ast in the ba-k&$ound: behind shiori the$e lin&e$s &$a-e(ul, (lo,e$in& beauty.
4e see a bloo'in& (lo,e$ in a ,ithe$in& one, blosso's on a dead t$ee. 4e $e-o&niCe no su-h
double i'a&e in Bash9s shiori( 6 dead t$ee is a dead t$ee+ it is beauti(ul be-ause it has
(ollo,ed its destiny to the end.
Hosomi, lite$ally 'eanin& slende$ness, see's to 'ean the deli-a-y o( senti'ent lyin& in the
depth o( a poe'. Ayo$ai says: Hosomi is not (ound in a (eeble poe'. "hen he -ontinues:
Hosomi lies in the (eelin& o( a poe'. "he poe' he -ites (o$ illust$ation is:
* ,onde$ ,hethe$
seabi$ds too a$e asleep
on 5ake Go&o toni&ht.D3%E
"he poet is t$yin& to sleep unde$ a thin ?uilt in a -old ,inte$ ni&ht at a -e$tain lakeside 1illa&e.
.uddenly he hea$s a seabi$d9s -$y. 6t on-e he -o'pa$es hi'sel( ,ith the seabi$d, and ,onde$s
i( the seabi$ds on the lake a$e too -old to &o to sleep. "he poet bu$ies hi'sel( in an e0te$nal
ob2e-t ,ith deli-ate sensiti1ity+ this is hosomi( *t is, as it ,e$e, a (ine 1ib$ation o( the poet9s
hea$t in $esponse to the s'allest sti'ulus in natu$e. Hosomi is a sensiti1e ,o$kin& o( the hea$t
,hi-h penet$ates into the inne$'ost natu$e o( thin&s. *t is subtle but not (eeble+ it has a po,e$
-o'in& ($o' the poet9s 'ind -on-ent$ated on the s'allest pheno'enon in natu$e. 6nyone -an
-at-h -$ude e'otions su-h as an&e$ o$ 2ealousy, yet it $e?ui$es ut'ost sensiti1ity to &$asp a
(o$'less 'ood ,hi-h su$$ounds the li(e o( a natu$al ob2e-t.
Hosomi is $e(e$$ed to by Bash in anothe$ instan-e, ,hen he -o''ented on a poe' by one o(
his dis-iples:
"he 'onkey9s sh$iek
is hoa$se, his teeth ,hite.
>1e$ the peak, the 'oon.
Bash -$iti-iCed the poet (o$ his e0-essi1e desi$e to -$eate an unusual s-ene, and hi'sel(
-o'posed a haiku (o$ the sake o( -ont$ast:
6 salted seab$ea',
sho,in& its teeth, lies -hilly
at the (ish shop.D31E
"he ,$ite$ o( the (i$st poe' has not put hi'sel( in the 'onkey9s position+ he is standin& a little
distan-e a,ay ($o' the 'onkey and listenin& to his sh$iek. But Bash has set hi'sel( ,ithin
the ob2e-tHa seab$ea'. 3ust as the ,$ite$ o( the seabi$d poe' -an (eel ,hat the seabi$ds (eel,
Bash (eels -hilly as the salted (ish (eels -hilly at a (ish shop in ,inte$. "he ,hiteness o( the
(ish9s e0posed teeth has -aused a deli-ate 1ib$ation o( the the poet9s hea$t, establishin& a
slende$ but (i$' $elation bet,een the (ish and the poet. "his ?uality is e0plained as hosomi(
*nspi$ation $e(e$s to an instantaneous insi&ht into the hidden natu$e o( thin&s. Bash
$epeatedly tau&ht his dis-iples not to 'iss an inspi$ed 'o'ent in -o'posin& a poe'. *( you
&et a (lash o( insi&ht into an ob2e-t, ,e ha1e al$eady hea$d hi' say, put it into ,o$ds be(o$e
it (ades a,ay in you$ 'ind. ;1en thou&h a poet 'ay &et a &li'pse at the $eal natu$e o(
thin&s, :oh e0plains, he 'ay eithe$ nou$ish his pe$-eption o$ kill it. *( he kills his
pe$-eption, his poe' ,ill not ha1e li(e. "he @aste$ on-e tau&ht that a poet should -o'pose a
poe' ,ith the (o$-e o( his inspi$ation.
32
Bash ad1ises that a (lash o( insi&ht should be
-$ystaliCed into a haiku be(o$e any i'pu$e ele'ent &ets in the ,ay. :oh $e-o$ds:
"he @aste$ said: 6 poet should dis-ipline hi'sel( e1e$y day. 4hen he sits at a poet$y
-ontest, he should be able to 'ake up a poe' instantly a(te$ his tu$n -o'es+ the$e should be
no lapse o( ti'e bet,een hi' and the ,$itin& desk. *( the poet ?ui-kly puts into ,o$ds ,hat
he has 2ust (elt, he ,ill ha1e nothin& to hesitate about. "he 'anus-$ipt o( a poe' is no bette$
than a t$ash pape$ ,hen it is (inished and is taken do,n ($o' the ,$itin& desk. "his ,as the
@aste$9s st$i-t tea-hin&. 6t anothe$ ti'e he said: 8o'position o( a poe' 'ust be done in an
instant, like a ,ood-utte$ (ellin& a hu&e t$ee o$ a s,o$ds'an leapin& at a dan&e$ous ene'y. *t
is also like -uttin& a $ipe ,ate$'elon ,ith a sha$p kni(e, o$ like takin& a la$&e bite at a pea$.
8onside$ all thi$tysi0 poe's as li&ht 1e$se. 6ll these ,o$ds sho, the @aste$9s atte'pt to
$e'o1e pe$sonal ,ill ($o' the a$tist9s ,o$k.
33
*nspi$ation does not -o'e ($o' the @use+ it -o'es ($o' the poet9s -onstant t$ainin& and
dis-ipline. 4hen it a$$i1es, it a$$i1es in an instant. "he poet should -at-h the inspi$ed 'o'ent
and put his e0pe$ien-e into ,o$ds on the spot. 4hat is i'po$tant is the inspi$ation o( the
'o'ent, and not the a$$an&e'ent o( the ,o$ds as they a$e put do,n on a pie-e o( pape$. "he
'anus-$ipt o( a poe' is in itsel( nothin& 'o$e than a t$ash pape$+ a poe' is ali1e only ,hen it
is in the sta&e o( bein& -o'posed o$ $ead on a ,$itin& desk. "he$e(o$e, on-e the poe' is
(inished at the inspi$ed 'o'ent, do not -han&e ,o$ds ($o' one to anothe$. 8o'pose the
,hole set o( thi$tysi0 poe's in a li&ht 'oodHthat is, not in a &$a1e 'ood o( a philosophi-al
thinke$. *nspi$ation is intuiti1e, and not -o&itati1e. *t is not so'ethin& ,hi-h the poet ,$in&s
out o( hi'sel( by e((o$t. "he poet9s e((o$t should be to,a$d the di$e-tion o( 'akin& it possible
(o$ su-h a 'o'ent o( inspi$ation to 1isit upon hi'.
Bash $e2e-ts a$ti(i-e on the sa'e &$ound. 6$ti(i-e kills inspi$ation+ it is 'e$ely an
intelle-tual play, ,ithout an intuiti1e insi&ht into natu$e. Bash -alls it a -$a(ts'an9s
disease. 5et a little boy -o'pose haiku, says he. 6 be&inne$9s poe' al,ays has so'ethin&
p$o'isin&.
3K
>(ten the poet9s too ea&e$ e((o$t to ,$ite a &ood poe' does ha$' to his ,o$k,
be-ause his pe$sonal ,ill tends to sho, in the (o$e&$ound o( the poe'. 6 &ood haiku -annot
be ,$itten 'e$ely by a lon& 1e$se,$itin& e0pe$ien-e o$ by ,ide kno,led&e o( the te-hni?ue
o( haiku( Bo$ this $eason, so'e ,ho ha1e been p$a-tisin& haiku (o$ 'any yea$s a$e slo,e$ in
kno,in& t$ue haiku than othe$s ,ho a$e ne, in haiku but ,ho ha1e been e0pe$t in othe$ a$ts,
Bash says.
35
He$e a&ain ,e see Bash9s idea that all a$ts a$e the sa'e in spi$it and that this
spi$it is the 'ost i'po$tant ele'ent in haiku,$itin& as ,ell as in othe$ a$ts.
B$a&$an-e, $e1e$be$ation and $e(le-tion a$e the 'ain p$in-iples ,hi-h $ule the $elation
bet,een pa$ts o( a poe'. "hese te$'s a$e o(ten used in linked 1e$se, but they a$e basi- ideas
in haiku,$itin& too. 6'on& the' ($a&$an-e is the oldest idea in 3apanese aestheti-s,
($e?uently used in the 7aka t$adition. B$a&$an-e 'eans ($a&$an-e o( senti'ent, so'e
1a&ue ?uality $isin& out o( a 'ood and appealin& to hu'an senses. Bash see's to ha1e
belie1ed that di((e$ent pa$ts o( a poe' should be $elated to one anothe$ by ($a&$an-e,
(o$'in& an at'osphe$i- ha$'ony $athe$ than lo&i-al -ohe$en-e as a ,hole. :oh points out
so'e e0a'ples in linked 1e$se:
Ho, bothe$so'e
a$e the innu'e$able na'es
o( sp$in& (lo,e$sS
6 butte$(ly, slapped,
a,akes out o( its sleep.
"he s-ene o( the se-ond stanCa ,as -on-ei1ed in ha$'ony ,ith the (i$st, as its ,$ite$ (elt the
($a&$an-e o( 'ind in the e0p$ession bothe$so'e and 1isualiCed a butte$(ly (lyin& up in
ala$'.
3!
"he (i$st stanCa des-$ibes the lo1eliness o( sp$in& (lo,e$s: all (lo,e$s a$e so beauti(ully
bloo'in& that it is bothe$so'e to $e'e'be$ the' by di((e$ent na'es. Get the e0p$ession
bothe$so'e 1a&uely su&&ests a -e$tain ?uality o( 'oodHso'e,hat unsettled, (aintly
uneasy, as i( so'ethin& is (lutte$in& in the -o$ne$ o( a beauti(ul lands-ape. "he se-ond stanCa
takes o1e$ this ($a&$an-e o( 'ood su&&ested in the (i$st stanCa and int$odu-es the i'a&e o( a
(lutte$in& butte$(ly. "he $elation bet,een the t,o stanCas, the$e(o$e, is ($a&$an-e.
:oh has 'any linked haiku ,hi-h illust$ate the p$in-iple o( ($a&$an-e, but ,e shall take
2ust one 'o$e e0a'ple:
6 ,easel sha$ply s?ueaks
so'e,he$e behind the shel1es.
"all bloo'plants,
se,n by no one, &$o,
thi-kly in the ya$d.
"he ,$ite$ o( the se-ond stanCa -ould (aintly hea$ a desolate ($a&$an-e bet,een the lines o(
the (i$st stanCa and added the s-ene o( a dilapidated house ,ith ,ild bloo'plants hea1ily
&$o,in& in the ya$d.
3J
"he (i$st stanCa has the ($a&$an-e o( a lonely 'ood: the s?ueak o( a ,easel su&&ests a
desolate house in $e'ote ,ilde$ness. "his pa$ti-ula$ ?uality that pe$'eates the 'ood o( the
(i$st stanCa is st$en&thened by the i'a&e o( densely &$o,in& bloo'plants in the se-ond. "he
se-ond stanCa (ollo,s the (i$st, but a&ain by no lo&i-al ne-essity+ it is only a pe-ulia$
($a&$an-e that unites the t,o.
Re1e$be$ation i'plies a $elation o( t,o pa$ts in a poe' in ,hi-h the 'ood o( one pa$t
$e1e$be$ates in the othe$. Ayo$ai e0plains:
Re1e$be$ation in poet$y 'ay be -o'pa$ed to the -ase o( t,o ob2e-ts in ,hi-h as soon as the
one is hit the othe$ $e1e$be$ates ($o' it. Bo$ instan-e:
>n the lon& po$-h
a sil1e$&laCed -up
is s'ashed to pie-es.
4at-h the lon&, slende$ s,o$d
he is about to d$a,S
"he @aste$ tau&ht 'e ,ith this e0a'ple, hi'sel( i'itatin& the a-tion o( (lin&in& a -up in his
$i&ht hand and o( p$epa$in& to d$a, a s,o$d in his le(t.
38
"he (i$st stanCa des-$ibes a tense s-ene in ,hi-h a (ie$-e ?ua$$el has be&un a'on& s,o$ds'en
at a ban?uet, ,he$eupon one o( the' in an&e$ s'ashed his ,ine -up on the po$-h. "he poet o(
the se-ond stanCa hea$d the 1ib$ation o( this 'ood and -o'posed a stanCa ,hi-h ,ould
1ib$ate ,ith the (i$st: in the se-ond stanCa the 'ood is e1en tense$ as t,o ,a$$io$s p$epa$e to
(i&ht. He$e is anothe$ e0a'ple ?uoted by :oh:
*n the blue sky
di'ly han&s the 'oon
as the day b$eaks.
"he (i$st ($ost has (allen
at Hi$a, by the autu'n lake.
"he ,$ite$ o( the se-ond stanCa ,as inspi$ed by the (i$st line o( the (i$st stanCa and -$eated a
-lea$, ($esh, 'a&ni(i-ent s-ene ,ith the autu'n lake and the (i$st ($ost at Hi$a.
39
"he (i$st stanCa p$esents a beauti(ul 'ood ,ith a ,an 'o$nin& 'oon, but the$e is one i'a&e,
the blue sky, ,hi-h su&&ests the (eelin& o( 'a&nitude. "his -auses a $e1e$be$ation in the
se-ond stanCa and int$odu-es the 'a&ni(i-ent s-ene o( a la$&e lake e0tendin& into an in(inite
distan-e in the -hilly autu'n ai$. Re1e$be$ation, then, is like ($a&$an-e in its (un-tion+ it
$elates one pa$t o( a poe' to anothe$ by a -e$tain ?uality o( 'ood. Get, ,he$eas ($a&$an-e
a--o'panies a -al', ele&ant 'ood, $e1e$be$ation appea$s only ,hen the 'ood is o(
tension, e0-ite'ent, &$andeu$ o$ 'a&nitude. .u-h a 'ood, as it ,e$e, is so (o$-e(ul that it
-auses an e-ho in a stanCa that (ollo,s.
6s (o$ $e(le-tion, Bash9s o,n -o''ent is $e-o$ded:
@en a$e -uttin& the b$ush,ood
by a &$assy path on the peak.
*n the dense pine,ood
on the le(tside 'ountain
is the "e'ple o( Aaya.
"he @aste$ said: *n 1ie, o( the $e(le-tion ($o' the line T@en a$e -uttin& the b$ush,ood,U it
,ould be bette$ to -han&e the openin& line o( the se-ond stanCa to T*t is hailin&. VU
K%
"he (o$-e o( the (i$st line in the (i$st stanCa is st$on&, $ou&h and -oa$se. But *n the dense
pine,ood i'plies a silent, -al' at'osphe$e. .o Bash thou&ht that the 'ood o( the se-ond
stanCa did not $e(le-t that o( the (i$st, and ad1ised to -han&e the line to *t is hailin& V,
,hi-h ,ould -o$$espond to the $ou&hness o( the 'ood in the (i$st stanCa. Re(le-tion, a&ain
like ($a&$an-e o$ $e1e$be$ation, is the $e(le-tion o( a 'ood bet,een t,o di((e$ent pa$ts o(
a poe' -$eatin& a ha$'ony as a ,hole. *ts basi- di((e$en-e ($o' ($a&$an-e o$
$e1e$be$ation is that $e(le-tion -an be applied to any 'ood, ?uiet o$ 1iolent.
"he -on-epts o( ($a&$an-e, $e1e$be$ation and $e(le-tion sho, that in haiku the $elation
bet,een pa$ts is based on a 1a&ue (eelin& o( si'ila$ity in 'ood. *n haiku it is ?uite possible to
b$in& to&ethe$ t,o ,idely di((e$ent thin&s and still -$eate so'e st$an&e yet ha$'onious 'ood
as a ,hole. "he t,o thin&s 'ay ha1e nothin& in -o''on to o$dina$y eyes, but the
i'a&inati1e union o( the t,o 'ay -$eate an unusually beauti(ul ($a&$an-e, $e1e$be$ation o$
$e(le-tion. >ne o( the -onse?uen-es o( this uni?ue idea is the 'e$&in& o( di((e$ent senses in
haiku( "he 1e$y (a-t that Bash used su-h te$'s as ($a&$an-e, $e1e$be$ation o$
$e(le-tion in denotin& a 'ood su&&ests his belie( in the inte$$elatedness o( the (i1e senses+
($o' an o$dina$y point o( 1ie, a 'ood ,ould ha1e no s'ell, no sound, no -olo$. Bash sa,
an e0pe$ien-e in its total i'pa-t+ odo$, sound and -olo$ ,e$e one to hi'. Hen-e e0a'ples o(
synesthesia a$e abundant in his ,o$k. 6'on& his poe's ,hi-h i'ply a -o$$esponden-e
bet,een sound and -olo$ a$e:
6s e1enin& has -o'e
on the sea, ,ild du-ks9 -$y
is (aintly ,hite.DK1E
Muietness V
>n the ,all, ,he$e han&s a paintin&,
a &$asshoppe$ -hi$ps.DK2E
"he blendin& o( 1ision and the sense o( te'pe$atu$e is seen in su-h poe's as:
>nions lie
,ashed all in ,hite.
Ho, -hilly it isSDK3E
"he autu'n ,ind
,hite$ than the $o-ks o(
the Ro-k @ountain VDKKE
Nision and odo$ a$e (used in these poe's:
.-ent o( o$-hids V
*t pe$(u'es the ,in&s
o( a butte$(ly.DK5E
"hei$ ($a&$an-e
is ,hite$ than pea-hblosso's:
the da((odils.DK!E
"he -o$$esponden-e bet,een sound and s'ell is sho,n in the (ollo,in& poe's:
"he ,ind ($a&$antly
sounds, as i( to p$aise
the pines and -eda$s.DKJE
"he $ipplin& ,a1es V
"hey beat ti'e, ,ith the ($a&$an-e
o( the b$eeCe.DK8E
*n addition to these, the$e a$e 'any poe's in ,hi-h synesthesia is i'plied. "hey 2u0tapose
t,o di((e$ent hu'an senses in su-h a ,ay that a st$an&e (usion o( the t,o ,ill take pla-e.
.o'e o( the best poe's by Bash belon& to this -ate&o$y:
Muietly, ?uietly,
yello, (lo,e$s (all to the &$ound.
"he sound o( the $apids VDK9E
"he -h$ysanthe'u' s'ell V
*n the old to,n o( 7a$a
'any an-ient Buddhas.D5%E
6 -u-koo9s -$y V
"he 'oonbea's a$e leakin&
th$ou&h the thi-k ba'boos.D51E
Gello, (lo,e$s and the sound o( ,ate$, the ($a&$an-e o( -h$ysanthe'u's and old Buddhist
i'a&es, a -u-koo9s -$y and the 'oonbea'sHthe$e is no i''ediate $elation bet,een the t,o
that -onstitute these pai$s+ yet the poet b$in&s the t,o to&ethe$Hby the p$in-iple o(
($a&$an-e, $e1e$be$ation o$ $e(le-tionHand -$eates a uni?uely ha$'onious 'ood on the
,hole. "he haiku o(ten -ontains se1e$al thin&s -ont$adi-to$y to ea-h othe$+ but still it has an
at'osphe$i- unity, the poeti- spi$it pe$'eatin& its hete$o&eneous 'ate$ials. "his is the point
at ,hi-h the -o$$esponden-e in haiku di((e$s ($o' its -ounte$pa$t in B$en-h sy'bolist
poet$y. B$en-h sy'bolists delibe$ately t$y to unite t,o dispa$ate ob2e-ts and -$eate the beauty
o( a$ti(i-e+ thei$ beauty is the pe$(u'e o( a'be$, 'usk, ben2a'in and in-enseHst$on&,
sensual, a$ti(i-ial, sophisti-ated, o(ten de-adent and e1en abno$'al. "he beauty sp$in&in& out
o( Bash9s -o$$esponden-e is like the ($a&$an-e o( a -h$ysanthe'u' o$ o$-hidH(aint,
natu$al, si'ple, p$i'iti1e, and ne1e$ e0t$a1a&ant o$ sho-kin&. "his, o( -ou$se, ste's ($o' his
attitude to,a$d li(e, ($o' his poeti- spi$it, ,hi-h ,e ha1e al$eady dis-ussed.
"he attitude ,hi-h t$ies to a--ept all thin&s as they a$e in li(e -a'e to (o$' anothe$ aestheti-
-on-ept, li&htness, in Bash. 6s he &$e, old Bash e'phasiCed this notion so 'u-h that it
al'ost appea$ed as i( he thou&ht it the hi&hest ideal o( haiku( By all 'eans endea1o$ to
p$odu-e li&htness, he says to one o( his dis-iples, and tell this to you$ ($iends too.
52
* ,as
deli&hted, he says to anothe$, to (ind that, a'on& othe$ i'p$o1e'ents, li&htness has -o'e to
p$e1ail in you$ poet$y in &ene$al.
53
6s (o$ the natu$e o( li&htness, the$e is an inte$estin&
dialo&ue in Ayo$ai9s ,$itin&s:
6 -e$tain 'an asked about the ne, (la1o$ o( haiku( "he @aste$ said: :o not take du-k soup+
sip ($a&$ant 1e&etable soup instead. "he 'an in?ui$ed: Ho, -ould 1e&etable soup be
-o'pa$ed to du-k soup= "he @aste$ s'iled and &a1e no ans,e$. 6s * ,as sittin& by, * said
to the 'an: *t is no ,onde$ that you should not be ti$ed o( du-k soup. * ha1e ne1e$ seen you
eatin& it. Gou -$a1e (o$ it day and ni&ht. "he @aste$ said: :o not stop e1en (o$ a 'o'ent. *(
you do, you$ poet$y ,ill be-o'e hea1y.
5K
5i&htness is a beauty (ound in -o''on, e1e$yday thin&s. *t is not &o$&eous but plain, not
sophisti-ated but nai1e, not &$easy but (aintly ($a&$ant. *t is a si'ple beauty, as Bash says
else,he$e: 4hen you -o'pose a poe', be si'ple and bold V
55
*t is ($ee o( senti'entalis',
as he -$iti-iCes a -e$tain poe' (o$ bein& s,eet.
5!
*t is a beauty o( inno-en-e, as he says:
.i'ply obse$1e ,hat -hild$en do.
5J
*t is also shallo,, as he says: "he style * ha1e in
'ind $ese'bles a shallo, sandbed $i1e$. Both the (o$' and -ontent o( a poe' should be
li&ht.
58
.hallo, does not i'ply la-k o( depth in 'eanin&. #oet$y is -o'pa$ed to the pu$e
,ate$ (lo,in& in a shallo, sandbed $i1e$+ it is t$anspa$ent, s'ooth, and not sta&nant. 6
shallo, o$ li&ht poe', in othe$ ,o$ds, is de1oid o( any intent to tea-h philosophi-al ideas
o$ to indul&e in deep e'otions. "hat li&htness does not -onnote the shallo,ness o( thou&ht
o$ (eelin& is ob1ious in the se-ond hal( o( Ayo$ai9s passa&e as ?uoted abo1e. >nly those ,ho
ha1e tasted du-k soup 'ay p$ope$ly app$e-iate the (la1o$ o( 1e&etable soup+ only those ,ho
-an deeply (eel 'ay attain the sta&e o( t$ans-endental li&htness. "he $elation bet,een
li&htness and hea1iness is not antitheti-al but diale-ti-al.
"he natu$e o( li&htness is (u$the$ -la$i(ied as Bash 'entions an a-tual e0a'ple. *t is, as
-ited by :oh:
<nde$ the t$ees
soup, (ish salad, and all,
in -he$$yblosso's.
4hen this poe' ,as -o'posed, the @aste$ said: "his has a (la1o$ o( blosso'1ie,in&
poet$y in the 'ood o( li&htness.
59
8he$$yblosso' 1ie,in&, o( -ou$se, had been a -o''on poeti- the'e sin-e an-ient ti'es.
But this haiku di((e$s ($o' t$aditional blosso'1ie,in& poe's be-ause it does not p$aise the
lo1eliness o( blosso's no$ 'ou$n o1e$ the passin& o( sp$in&, but int$odu-es a do,ntoea$th
sub2e-t, (ood. "he 'ood ,hi-h -o'es out o( a s-ene ,he$e beauti(ul blosso's a$e (allin& on
soup and (ish salad is li&htness.
"hus li&htness, i'plyin& nai1ete and (a'ilia$ity in style as ,ell as in sub2e-t'atte$, 'akes
a distin-t depa$tu$e ($o' the t$adition o( -lassi-al 3apanese lite$atu$e. *n (a-t :oh ,$ites:
8hinese 1e$se, 7aka, linked 1e$se and haiku a$e all poet$y. Get haiku -o1e$s all the a$eas o(
li(e, in-ludin& the thin&s ,hi-h ha1e not been t$eated in the othe$ th$ee.
!%
8hinese poet$y, 7aka and linked 1e$se ai' at the -$eation o( he$oi- o$ ele&ant beauty+
natu$ally thei$ 'ate$ials a$e li'ited. Get haiku, ,ith its li&htness, a--epts all thin&s (o$ its
'ate$ialHa 'uddy -$o,, a bi$d9s d$oppin&, o$ e1en ho$sedun&. "he beauty o( haiku is that o(
the poeti- spi$it ,hi-h dis-o1e$s deli-ate ,o$kin&s o( the uni1e$sal ene$&y in all thin&s o(
li(e. *( one looks at thin&s ,ith the poeti- spi$it, e1en the pettiest, hu'blest thin&s ,ill
be-o'e sub2e-ts o( poet$y as p$e-ious as the blosso's and the 'oon. "he haiku poet 'ay use
-ollo?uialis' too, ,hi-h ,as a taboo in -lassi-al 8hinese and 3apanese poet$y. >ne use o(
haiku, says Bash, is to -o$$e-t -ollo?uialis'.
!1
6 1e$na-ula$ ,o$d, ,hen it is used in
haiku, is no lon&e$ -$ude o$ inde-ent+ it is -o$$e-ted, it is ele1ated to the poeti- le1el. "hus
the $eal' o( haiku, both in sub2e-t'atte$ and in lan&ua&e, is as b$oad as the ,hole $an&e o(
hu'an li(e.
6 li&ht 'ood as a distin&uishin& ele'ent o( the haiku is $ee'phasiCed by :oh ,hen he
says: a ,illo, t$ee in the sp$in& $ain -o'pletely belon&s to the ,o$ld o( linked 1e$se. 6 -$o,
di&&in& up 'udsnails is an e0-lusi1e p$ope$ty o( haiku poets. *ndeed ,e -annot i'a&ine a
&$a-e(ul linked 1e$se ,$ite$ ,at-hin& a di$ty -$o, di&&in& the 'uddy $i-epaddy. 6 haiku
poet, on the othe$ hand, -an ,$ite a poe' like:
*n the $ain o( 3une
let us &o and see the (loatin&
nest o( a little &$ebe.D!2E
7o o$dina$y adult ,ould be te'pted to &o out in the $ain 2ust to see a &$ebe9s nest on the pond.
But the poet Bash, ,ith al'ost a -hildlike inno-en-e, en2oys doin& so. 5et us &o and see
su--ess(ully -on1eys the li&hthea$tedness o( the poet, ,hi-h is in the -ente$ o( the poe'9s
'ood.
"he p$in-iple o( li&htness $esults in anothe$ -ha$a-te$isti- o( haiku, hu'o$. "he ,o$ld o(
'an is (ull o( -ont$adi-tions and st$u&&les, and one is o(ten p$o1oked, an&$y and despe$ate. 6
haiku poet, ho,e1e$, looks at the' ($o' a distan-e, ,ith the sy'pathy o( a 'an ,ho has
-al'ly &i1en up (i&htin&. 5i(e is a t$a&edy to those ,ho (eel, but is a -o'edy to those ,ho
stop and think. 4hen the haiku poet leisu$ely ,at-hes othe$ people ,ithout bein& in1ol1ed in
thei$ e'otions, a s'ile (o$'s in his (a-e, hu'o$ e'e$&es in his ,o$k. Bo$ instan-e:
7oiselessly
a peasant 'akes st$a, sandals
in the 'oonli&ht,
,hen a nei&hbo$ ,akes to shake o((
the (leas in ea$ly autu'n.D!3E
"he (i$st stanCa depi-ts a poo$ (a$'house s-ene. "he peasant, unable to li1e on his dayti'e
,o$k alone, 'akes st$a, sandals late at ni&ht+ he ,o$ks in the 'oonli&ht outdoo$s to sa1e
li&htin& oil, yet he has to be -autious not to distu$b sleepin& nei&hbo$s. "he se-ond stanCa,
,hile -a$$yin& on the 'odest 1illa&e s-ene, int$odu-es a st$eak o( hu'o$ by des-$ibin& a
nei&hbo$ a,akened by (leas and -o'in& out o( his sha-k to shake the' o((. "he poet sho,s
no indi&nation o$ senti'entality at the poo$ peasant li(e+ he only ,at-hes it unde$standin&ly
and s'ilin&ly.
"he haiku, then, ,as (o$ Bash the ,ay to sal1ation. 6s he $e-alls, the$e ,e$e ti'es ,hen he
-$a1ed (o$ an o((i-ial post o$ ,anted to be-o'e a 'onk, yet he (ailed in both and hun& to the
thin st$in& o( haiku(
!K
Bash $e(used to take a p$a-ti-al ,ay o( li(e, but neithe$ -ould he &o
alon& ,ith the Buddhist 1ie, o( sal1ation. His standpoint di((e$s ($o' the n/ ,$ite$9s o$
Buddhist9s in that Bash9s poeti- spi$it does not deny the 1alues o( the p$esent ,o$ld (o$ the
sake o( the ,o$ld yonde$. Buddhis' ,ould $e-o''end that 'an should $enoun-e all the
,o$ldly 1alues and ente$ an enli&htened $eal' $uled by the &$eat -os'i- la,. Bash, on the
othe$ hand, takes an attitude so passi1e and allin-lusi1e that he need not $enoun-e anythin&.
Bo$ a Buddhist, li(e e0ists be-ause the$e is death. Bo$ Bash, li(e e0ists be-ause the$e is death,
indeed+ but at the sa'e ti'e death e0ists be-ause the$e is li(eHli(e is 2ust as i'po$tant as
death. Bash9s ideas on poet$y a$e ulti'ately the 'ani(estations o( su-h an attitude to,a$d
li(e. $a!i and 7a!i a$e the p$in-iples by ,hi-h 'an pu$&es his e0-essi1e e'otions and &ains
se$enity o( 'ind+ they enable 'an to li1e in this ,o$ld ,hile t$ans-endin& it. B$a&$an-e,
$e1e$be$ation and $e(le-tion a$e the ideas by ,hi-h 'an unites opposites and $esol1es
st$u&&les+ they help 'an to see a -o$$esponden-e bet,een hi'sel( and natu$e. 5i&htness is a
-on-ept th$ou&h ,hi-h 'an $e-o&niCes the t$ue 1alue o( -o''on ,ays o( li1in&+ it tea-hes
'an ho, to endu$e ha$dship ,ith a s'ile, to sy'pathiCe ,ith othe$s ,ith a ,a$' hea$t.
Reli&ious pessi'is' and p$a&'ati- opti'is', 'edie1al as-eti-is' and 'ode$n hu'anis',
(eudalist -onse$1atis' and bou$&eois libe$alis', all a$e blended in Bash9s poet$y. Bash
in-ludes 'ultitudes+ he physi-ally li1es a'on& the', ,hile deta-hed ($o' the' spi$itually.
6ttain a hi&h sta&e o( enli&hten'ent and $etu$n to the ,o$ld o( -o''on 'en ,as his
deathbed tea-hin&.
!5
"he ,o$d !ash/ desi&nates a banana plant, sy'boliCin& the 'utability o( li(e ,ith its la$&e,
so(t lea1es. "he poet, in adoptin& it (o$ his pseudony', atte'pted to o1e$-o'e sadness o( li(e
by attainin& a hi&h sta&e o( enli&hten'ent th$ou&h haiku( 5ike the ,ate$ in a shallo, sand
bed $i1e$, he ne1e$ stayed at one pla-e eithe$ in a-tual li(e o$ in poet$y+ he t$a1eled e0tensi1ely
th$ou&hout his li(e and ,$ote nu'e$ous haiku as he t$a1eled alon&. Get haiku, a(te$ all, ,as
not a $eli&ion. 6s he &$e, old, a doubt -a'e upon hi' as to ,hethe$ haiku itsel( ,as not one
o( those hu'an passions ,hi-h kept hi' ($o' attainin& a hi&he$ sta&e o( $eli&ious a,akenin&.
:ay and ni&ht he thou&ht o( poet$y+ as he slept he d$ea'ed o( ,alkin& in the 'o$nin& -louds
and in the e1enin& dusk, and as he a,oke he ad'i$ed the 'ountains, the ,ate$, and ,ild
bi$ds.
!!
He also ,$ites:
7o soone$ had * de-ided to &i1e up 'y poet$y and -losed 'y 'outh than a senti'ent te'pted
'y hea$t and so'ethin& (li-ke$ed in 'y 'ind. .u-h is the 'a&i- po,e$ o( the poeti- spi$it.
!J
*s the$e a di((e$en-e bet,een o$dina$y 'en9s atta-h'ent to 'ate$ial inte$est and Bash9s to
poet$y= Bash t$ied, as Iea'i did, to b$in& a$t and $eli&ion to&ethe$. But &$adually he
dis-o1e$ed, as Iea'i did, that the t,o -ould not be-o'e one as lon& as $eli&ion denied so'e
hu'anisti- 1alues ,hi-h ,e$e the 'oti1es o( a$t. :id Bash (inally $e-o&niCe the p$io$ity o(
$eli&ion to a$t ,hen, sho$tly be(o$e his death, he $e(e$$ed to poet$y as sin(ul atta-h'ent=
!8

4hate1e$ the ans,e$ 'ay be, the (a-t $e'ains that his &$eat poet$y is a -o'bined p$odu-t o(
the t,o: his philosophy o( li(e -o'pa$able to $eli&ion in its p$o(ound unde$standin& o( $eality,
and his a$t ,hi-h &a1e it a (ull e0p$ession.
Notes
1. @atsuo Bash D1!KK9KE ,as bo$n in a sa'u$ai (a'ily, but le(t ho'e as a youth and
spent 'ost o( his li(e t$a1elin& th$ou&h 1a$ious $e&ions o( 3apan and -o'posin& haiku
poe's alon& the ,ay. His ideas on the natu$e o( poet$y a$e su&&ested in his p$ose
,o$ks su-h as /en2Qan no ki D"he <n$eal :,ellin&, 1!9%E, Heikan no setsu D>n
8losin& the /ate, 1!92E, .ai'on no 2i D"he Rusti- /ate, 1!93E and >i no kobu'i
D6 "$a1ele$9s .-$ibble, 1J%9E, as ,ell as in his lette$s to his pupils. But it is in the
,$itin&s o( the t,o leadin& dis-iples unde$ hi', Ayo$ai and :oh Dsee notes 3 and 5E,
that Bash9s poeti-s (ully $e1eals itsel(.
2. 6 (o$' o( -lassi-al 3apanese poet$y. 6lso -alled the tanka( *t -onsists o( (i1e lines,
,ith 5, J, 5, J and J syllables ea-h. .in-e a$ound the ninth -entu$y it had been an a$t
al'ost e0-lusi1ely (o$ the uppe$ -lass.
3. Hatto$i :oh D1!5J1J3%E, one o( Bash9s leadin& dis-iples. His $anz/shi D'hree
Books on the Art of Haiku( 8o'pleted not lon& a(te$ Bash9s death, but not published
until 1JJ!E is one o( the 'ost $eliable $e-o$ds o( Bash9s tea-hin&s on the haiku(
K. $anz/shi, in $h/mon hai7a!un+sh0 Dabb$e1iated as $H he$ea(te$E, 1!2.
5. @ukai Ayo$ai D1!511J%KE, one o( the best poets a'on& Bash9s (ollo,e$s. His
yorai sh/ D$ele1te* )ritings of yorai( #ublished 1JJ5E, -ontainin& 'any in(o$'al
-on1e$sations bet,een Bash and hi'sel(, is an e0-ellent 'ate$ial to lea$n Bash9s
ideas on the haiku( "he passa&e in ?uestion appea$s in Ayo$ai no 'onnan ni kotau$u
no ben, $H, K23K2K. Ayo$ai ,$ote anothe$ book on the p$in-iples o( haiku, -alled
'a!ine+ron D$leeping on a 2ourney, published in 1JJ8E.
!. Oi no ko!umi, Bash/ i1hi*ai+sh0 Dabb$e1iated as BI he$ea(te$E, 5J2.
J. $ansz/shi, $H, 1!21!3.
8. I!i*(, 1!K.
9. I!i*(, 181.
1%. 8(. Goshie >kaCaki, Banbutsu kkan D8o$$esponden-esE, Okazaki 4oshie 1hosaku+
sh0, N*, 5383.
11. $anz/shi, $H, 182.
12. @ino'ushi batsu, BI, !1K.
13. $anz/shi, $H, 1!K.
1K. Heikan no setsu, BI, !2J.
15. .ai'on no 2i, BI, !33.
1!. Oku no hosomi1hi, BI, 58J.
1J. Oi nikki, BI, 52.
18. 'omari!une+sh0, BI, J9.
19. Oku no hosomi1hi, BI 595.
2%. an&in1h/, BI, K8.
21. Oku no hosomi1hi, BI, 595.
22. $aga nikki, BI, !%!.
23. yorai sh/, $H, 2J!2JJ.
2K. Fuyu no hi, BI, J5.
25. yorai sh/, $H, 2JJ.
2!. Ayoshi no 'onnan ni kotau$u no ben, $H, K2%.
2J. yorai sh/, $H, 2JJ.
28. Ayoshi no 'onnan ni kotau$u no ben, $H, K2%.
29. yorai sh/, $H, 2JJ.
3%. I!i*(, 2JJ.
31. BQshi, Haikai &iteiki D1J5%9sE. Muoted in Bash/ k/za, ***, 8.
32. $anz/shi, $H, 1!3.
33. I!i*(, 1!3.
3K. I!i*(, 1!3.
35. I!i*(, 1!3.
3!. I!i*(, 1JK.
3J. I!i*(, 1J!.
38. yorai sh/, $H, 2J3.
39. $anz/shi, $H, 1J5.
K%. .an-h san&in hy&o, BI, 553.
K1. Nozarashi kik/, BI, 88.
K2. Bash/+/ sh/soku+sh0, BI, 5!.
K3. Infutagi, BI, 8!.
KK. Oku no hosomi1hi, BI, 599.
K5. Bash/+/ shinseki+sh0, BI, 53.
K!. Oi nikki, BI, 8%.
KJ. I!i*(, 38.
K8. I!i*(, 38.
K9. Areno, BI, 23.
5%. Oi nikki, BI, J%.
51. $aga nikki, BI, !%5.
52. Bash9s lette$ to .anpQ, 3une 2K, 1!9K. Bash/ k/za, N**, 291.
53. Bash9s lette$ to :oh, .epte'be$ 23, 1!9K. I!i*(, 32%.
5K. Bu&yoku ate $onsho, D1!95E, yorai sh/@ $anz/shi@ 'a!ine+ron, 22!.
55. I!i*(, 22!.
5!. yorai sh/, $H, 252.
5J. 'a!ine+ron, $H, 233.
58. BetsuCashiki 2o, $h/mon haikai zensh0, 529.
59. $anz/shi, $H, 1!9.
!%. I!i*(, 155.
!1. I!i*(, 182.
!2. I!i*(, 155.
!3. I!i*(, 1J5.
!K. /en2Qan no ki, BI, !1K!15.
!5. $anz/shi, $H, 1!2.
!!. Oi nikki, $h/mon haikai go+sh0, 13.
!J. .eikyo no ben, BI, !38.
!8. Oi nikki, $h/mon haikai go+sh0, 13.
*nt$odu-tion to Bash/ by 7obuyuki Guasa
'he Narro7 .oa* to the Deep North an* other 'ra-el $ket1hes, t$anslated by 7obuyuki
Guasa, #en&uin Books, 19!!, pp. 9K9.
Haiku, o$ hokku as it ,as -alled du$in& the li(eti'e o( Bash, is the sho$test a'on& the
t$aditionally a--epted (o$'s o( 3apanese poet$y. *t -onsists o( se1enteen syllables,
1
di1ided
into th$ee se-tions o( (i1ese1en(i1e. Bo$ e0a'ple,
Bu$uike ya, ka,aCu tobiko'u, 'iCu no oto.
B$eakin& the silen-e
>( an an-ient pond,
6 ($o& 2u'ped into ,ate$H
6 deep $esonan-e.D2E
*t is ob1ious, ho,e1e$, that it is not su((i-ient to de(ine haiku pu$ely ($o' the standpoint o(
syllabi- st$u-tu$e, (o$ haiku, like any othe$ (o$' in lite$atu$e, has &$o,n out o( a lon& p$o-ess,
and it is sub2e-t to a nu'be$ o( $est$i-tions histo$i-ally i'posed upon it. 5et 'e, the$e(o$e,
atte'pt by ,ay o( int$odu-tion a sho$t histo$y o( haiku so that the $eade$ 'ay &et a-?uainted
,ith the essential t$aits o( this 'ost (as-inatin& lite$a$y (o$'.
5on& be(o$e haiku, o$ e1en its distant p$ototype, -a'e into e0isten-e, the$e ,as al$eady an
established (o$' o( poet$y in 3apanese lite$atu$e, and this (o$', 7aka, -onsisted o( thi$tyone
syllables, di1ided into (i1e se-tions o( (i1ese1en(i1ese1ense1en. Bo$ e0a'ple,
Ha$u no no ni, su'i$e tsu'i ni to, ko
shi ,a$e Co,
no o natsukashi'i, hitoyo ne ni ke$u.
8o'in& ,ith a li&ht hea$t
"o pi-k so'e 1iolets,
* (ound it di((i-ult to lea1e
6nd slept o1e$ni&ht
He$e in this sp$in& (ield.D3E
>$ a&ain,
Hisakata no, hika$i nodokeki, ha$u no
hi ni,
shiCu&oko$o naku, hana no -hi$u $a'u.
>n a lon& sp$in& day,
4hen all is happily bathed
*n the pea-e(ul sun,
8he$$y blosso's alone (allH
<n,illin& to stay=DKE
6s these e0a'ples indi-ate, this olde$ and lon&e$ (o$' o( 3apanese poet$y ,as pa$ti-ula$ly
suited (o$ e'oti1e e0p$ession and $e(ined des-$iption o( natu$e. Hen-e it be-a'e e0t$e'ely
popula$ a'on& a$isto-$ati- -ou$tie$s. 8ou$tie$s, ho,e1e$, e'ployed this (o$' so'eti'es in
thei$ play(ul 'ood as a 'ediu' o( ,itty -on1e$sation, b$eakin& it into t,o sepa$ate hal1es o(
(i1ese1en(i1e and se1ense1en. Bo$ e0a'ple,
>kuya'a ni, (une ko&u oto no, kikoyu$u
,a.
7a$e$u kono'i ya, u'i ,ata$u $a'u.
Ho, is it that * hea$
"he noise o( -$eakin& oa$s
*n the deepest 'ountains=
Be-ause o( the $ipenin& ($uits
"hat $ub a&ainst ,ood as oa$s do.D5E
>$ a&ain,
Hito&oko$o, ushi'itsu i'a ,a, tano'a
2i yo.
Gu'e ni 'iyu ya to, ne Co su&i ni ke$u.
*t has passed 'idni&ht,
* no lon&e$ ,ait (o$ you,
#inin& (o$ so$$o,.
>h, dea$, * o1e$slept,
4antin& to see you in the d$ea'.D!E
.o'eti'es the o$de$ o( the t,o hal1es ,as $e1e$sed to &i1e 'o$e independen-e to ea-h
-ounte$pa$t and &$eate$ ($eedo' to the e0e$-ise o( ,it. Bo$ e0a'ple,
"a ni ha'u ko'a ,a, ku$o ni Co a$i ke$u.
7a,ashi$o no, 'iCu ni ,a ka&e to, 'ie tsu$e
do.
"he ho$se &$aCin& on the bank
.ee's to 'e bla-k in -olou$.
* think it othe$,ise,
Bo$ its $e(le-tion in the paddy
.ays -hestnutb$o,n.DJE
"his kind o( ,itty 1e$se, ,hi-h -ontinued to be ,$itten unde$ the na'e o( linked 1e$se
DrengaE th$ou&hout the Heian pe$iod DJ9K1191E, see's to 'e to be the ea$liest &e$' o( haiku
poet$y, (o$ it is he$e that (o$ the (i$st ti'e the (i1ese1en(i1e syllabi- st$u-tu$e -a'e to be
$e-o&niCed as a poeti- unit, thou&h not -o'pletely independent, and (u$the$'o$e, the ,itty
and play(ul tone o( the linked 1e$se is a he$ita&e ,hi-h passes into the 'a$$o, o( late$ haiku,
thou&h so'e,hat 'odi(ied by subse?uent de1elop'ents.
"o,a$ds the end o( the Heian pe$iod, and 'o$e uni1e$sally in the Aa'aku$a pe$iod D1192
1392E, a$ose the (ashion o( ,$itin& a lon& -hain o( linked 1e$se by 'ultiplyin& the nu'be$ o(
links. Bo$ e0a'ple,
7a$a no 'iyako o, o'oi koso ya$e.
GaeCaku$a, aki no 'o'i2i ya, ika na$a 'u.
.hi&u$u$u tabi ni, i$o ya kasana$u.
* ,onde$ ho, it is no,
*n the an-ient -apital o( 7a$a.
"hose ti'ehonou$ed -he$$ies
"hat bloo' in double (lo,e$s
@ust be in thei$ autu'nal tints.
;a-h $ain o( (all b$in&s (o$th
;1e$deepenin& -olou$s in the lea1es.D8E
*n the be&innin&, the nu'be$ o( poe's thus linked to&ethe$ ,as $elati1ely s'all, but be(o$e
lon& as 'any as thi$tysi0, (o$ty(ou$, (i(ty, o$ e1en one hund$ed poe's be&an to be in-luded
in a se$ies. 4hat 'ust be bo$ne in 'ind in $eadin& these lon& se?uen-es o( linked 1e$se is that
they ,e$e ,$itten by a nu'be$ o( poets sittin& to&ethe$ and ,$itin& alte$nately, and that ea-h
poe' in a se$ies ,as linked to the i''ediately p$e-edin& one eithe$ by ,itty asso-iation o$
1e$bal play. "he $esult ,as o(ten a kind o( kaleidos-opi- beauty ,ith in(inite 1a$iety $e1ealed
to the $eade$ in a slo,ly e1ol1in& 'o1e'ent.
*nhe$ent in these lon& se?uen-es o( linked 1e$se, ho,e1e$, ,as a dan&e$ that they 'i&ht
de&ene$ate into -haoti- -on(usion o$ tedious 'onotony. "o p$e1ent this, the$e(o$e, 1a$ious
atte'pts ,e$e 'ade to establish -e$tain $ules o( -o'position, and 1a$ious s-hools o( poets
be&an to be (o$'ed. :u$in& the Aa'aku$a pe$iod, these s-hools ,e$e -lassi(ied $ou&hly into
t,o &$oups, se$ious DushinE and nonse$ious DmushinE, the (o$'e$ t$yin& to e'ulate the ele&ant
style o( 7aka and the latte$ pe$sistin& in ,itty -o'position o( a lo,e$ o$de$. "o,a$ds the end
o( the Aa'aku$a pe$iod and du$in& the @u$o'a-hi pe$iod D13931!%2E, ho,e1e$, the poets o(
the se$ious &$oup ,on &$adual as-endan-y, and ,ith the -o'in& o( .&i D1K2115%2E the a$t
o( linked 1e$se $ea-hed its pe$(e-tion. 5et 'e ?uote he$e the (i$st ei&ht poe's o( his
'aste$pie-e -alled "inase $angin as an e0a'ple o( his supe$b a$t.
.no,-apped as they a$e,
"he &entle slopes o( the 'ountains
Bade into the haCy 'ist
6t t,ili&ht on a sp$in& day.
"he $i1e$ des-ends (a$ and distant,
#lu'($a&$an-e (illin& the 1illa&e.
*n a so(t $i1e$ b$eeCe
.tands a sin&le ,illo, t$ee
B$esh in sp$in& -olou$.
6t ea$ly da,n e1e$y push o( the oa$
*s audible ($o' a passin& boat.
"he$e 'ust be a 'oon
:yin& in the 'o$nin& sky
4$apped in a hea1y (o&.
"he &$ound is -o1e$ed ,ith ($ost,
"he autu'n is d$a,in& to its -lose.
*n a so$$o,(ul 1oi-e
6 -$i-ket is hea$d sin&in&
Beneath the ,ithe$in& &$ass.
* paid a -all to a ($iend o( 'ine,
"akin& a desolate lane by the hed&e.D9E
7ote in the abo1e ho, ea-h poe' takes up the su&&estion o( the p$e-edin& poe' and yet
opens a ne, ,o$ld o( its o,n, so that the $eade$ is -a$$ied th$ou&h the ,hole se$ies as th$ou&h
the e0?uisitely a$$an&ed $oo's o( a buildin&, al,ays ente$tained by deli&ht(ul -han&es but
ne1e$ a$$ested by sudden -ont$adi-tions. *t is no lon&e$ ,itty asso-iation o$ 1e$bal play but
so'ethin& in the depths o( the hu'an hea$t that -o'bines these poe's. * think it is
pa$ti-ula$ly si&ni(i-ant ($o' ou$ point o( 1ie, that al$eady in the ti'es o( .&i, the sta$tin&
pie-e DhokkuE o( a se$ies, ,hi-h ,as al,ays ,$itten in the (i1ese1en(i1e syllable (o$', ,as
&i1en a spe-ial pla-e and -o'posed only by the 'ost e0pe$ien-ed o( the poets. 6t least t,o
thin&s ,e$e -onside$ed essential to the sta$tin& pie-e. Bi$st, a $e(e$en-e to the season in ,hi-h
it is ,$itten, and se-ond, the e0isten-e o( the so-alled b$eakin& ,o$d Dkire&iE, a sho$t
e'otionally -ha$&ed ,o$d ,hi-h, by a$$estin& the (lo, o( poeti- state'ent (o$ a 'o'ent,
&i1es e0t$a st$en&th and di&nity. "hese a$e $est$i-tions that bind late$ haiku as ,ell.
"o,a$ds the end o( the @u$o'a-hi pe$iod and in the ea$ly pa$t o( the ;do pe$iod D1!%3
18!!E, linked 1e$se o( a lo,e$ o$de$ Dhaikai no rengaE, ,hi-h -ontinued to be ,$itten in the
p$e-edin& a&e 'e$ely as a kind o( $e-$eati1e pasti'e, &ained eno$'ous popula$ity. "his is, o(
-ou$se, pa$tly due to the o1e$$e(ine'ent and elabo$ation o( se$ious poet$y, but 'ainly
be-ause ($eedo' and open lau&hte$, ,hi-h -ha$a-te$iCed linked 1e$se o( a lo,e$ o$de$, suited
the taste o( the 'e$-hant -lass ,hi-h ,as then $isin& th$ou&hout the -ount$y. "he ea$liest
inno1ato$s a$e .kan Ddates unkno,nE and @o$itake D1KJ315K9E. 5et 'e ?uote he$e so'e o(
thei$ poe's DhokkuE to &i1e a &li'pse o( thei$ poeti- ,o$ld.
*n a pe$(e-t -i$-le
Rises the sp$in& day,
But it &ains an eno$'ous len&th
By the ti'e it sinks.
"o the 'oon in the sky
*( you put a handle,
*t ,ill -e$tainly be
6n e0-ellent (an.
6 han&in& ,illo,
*n beauti(ul &$een
#aints eyeb$o,s
>n the b$o, o( a -li((.
7ot in the (lo,e$
But $athe$ in the nose
"he s'ell $esidesH
.o it see's to 'e.
;1en in the te-hni?ue o( linkin&, they see' to ha1e al'ost &one ba-k to the play(ul 'ood o(
the poets o( the Heian pe$iod. Bo$ e0a'ple,
* ,anted, yet not ?uite ,anted,
"o use 'y s,o$d to kill a 'an.
8aptu$in& a thie(,
* ,as su$p$ised to (ind hi'
7one but 'y o,n son.D1%E
>$ a&ain,
5i&hte$ than pape$,
#lu' blosso's a$e sent (lyin&
*n the holy -o'pound
>n a sp$in& day.
<n,illin& it see's, to (all behind,
8$o,s and bush ,a$ble$s (ly about.D11E
"he ,itti-is' o( .kan and @o$itake ,as -a$$ied a step (u$the$ to a bold and -ons-ious
a--eptan-e o( -ollo?uialis' by "eitoku D15J11!53E. He it ,as ,ho (i$st stated e0pli-itly that
linked 1e$se o( a lo,e$ o$de$ had an a$tisti- 'e$it pe-ulia$ to itsel(, and that it, bein& Tthe
1oi-e o( the happy peopleU, should not hesitate to use any popula$ te$'inolo&y DhaigonE
a1ailable to p$o1oke healthy lau&hte$. 4hat a-tually happened in his poet$y, ho,e1e$, ,as
so'e,hat di((e$ent ($o' ,hat he p$oposed to do in his theo$eti-al state'ents, (o$ he did
e1e$ythin& so -ons-iously, so -al-ulatin&ly: al'ost by $ule and 'easu$e. Bo$ e0a'ple,
4onde$(ul -oolness
*s pa-ked inta-t
*n the lu'pish 'oon
>( a su''e$ e1enin&.
7o bi&&e$ than a (ist, it see's,
"he -louds that b$ou&ht the sho,e$.D12E
"his linked 1e$se happens to be (ai$ly &ood poet$y, but i( one looks at it -losely, one $ealiCes
that the link is p$o1ided by an elabo$ate net o( 1e$bal asso-iation DTlu'pU and T(ist,U and
Te1enin&U and Tsho,e$UE. Bash -$iti-iCed this kind o( linkin& te-hni?ue as bein& 'e-hani-al
Dmono+zukeE, (o$, -a$$ied to an e0t$e'e, it o(ten leads to the i'po1e$ish'ent o( poet$y. "he
sa'e tenden-y -an be dete-ted in "eitoku9s hokku(
:u'plin&s $athe$ than (lo,e$s
"hey see' to -hooseH
"hose ,ild &eese
Blyin& ho'e to the no$th.
"he yea$ o( the ti&e$
Has -o'eH
;1en the sp$in& 'ist $ises
*n spots and st$ipes.
4hat "eitoku intended but did not ?uite su--eeed in doin&, ,as a-hie1ed by .in D1!%582E
and his dis-iples, pa$ti-ula$ly .aikaku D1!K293E a'on& the'. * think it is si&ni(i-ant that both
.in and .aikaku -hose as the -ent$e o( thei$ a-ti1ityLsaka, the -ity ,he$e the po,e$ o( the
'e$-hant -lass ,as st$on&est. *n the poe's o( "eitoku, as ,e ha1e seen, the lan&ua&e ,as
o(ten -ollo?uial enou&h, but the depi-ted s-enes the'sel1es ,e$e not &$eatly di((e$ent ($o'
the ele&ant s-enes o( se$ious poet$y. *n the poe's o( .in and .aikaku, ho,e1e$, all the
e1ents o( this T(loatin& ,o$ldU a$e $epo$ted ,ith absolute ($eedo'Hin -hee$(ul $hyth' and
t$uly popula$ idio'. "o ?uote so'e o( thei$ hokku:
5on& $ain o( @ay,
"he ,hole ,o$ld is
6 sin&le sheet o( pape$
<nde$ the -louds.
;0a-tly in the shape o(
6 lette$ in the :ut-h alphabet
5ies in the sky
6 band o( ,ild &eese.
.ayin&, T.hishi, shishi,U
@y ,i(e en-ou$a&es the baby
"o pass ,ate$, and * hea$
"he noise o( a 'o$nin& sho,e$.
4alkin& in a desolate (ield,
* pi-ked up a ,o'an9s -o'b+
.he 'ust ha1e -o'e he$e
"o plu-k (lo,e$s in sp$in&.
.in and his dis-iples insisted that the $eal 'e$it o( thei$ poet$y ,as in 'etapho$ Dg0genE, that
is, sayin& one thin& and 'eanin& anothe$. "his is an idea that ,as late$ de1eloped by Bash
into the 'o$e si&ni(i-ant theo$y o( substan-e D&itsuE and essen-e DkyoE in poet$y. 6s inte$p$eted
by .in and his dis-iples, ho,e1e$, 'etapho$ 'eant si'ply b$in&in& to&ethe$ t,o thin&s o(
di((e$ent -ate&o$ies by in&enuity. Bo$ e0a'ple, a 'o$nin& sho,e$ and u$ination in the thi$d
poe' ?uoted abo1e. "he sa'e kind o( in&enious (li&ht -an be dete-ted in the linkin&
te-hni?ue.
"hus &athe$ed in a -o'pany,
4e ha1e in the 'idst o( us
6 t$ee o( lau&hte$ and talk,
6 ($a&$ant plu' t$ee.
"he pie$-in& 1oi-e o( a bush ,a$ble$
*s an ala$' (o$ the slu'be$in& ,o$ld.
>n a 'isty 'o$nin&,
6 line o( s'oke ($o' 'y pipe
*s b$oken side,ays.
#alan?uinbea$e$s ha1in& passed,
"he$e a$ose a blast o( 'ountain ,ind.D13E
He$e the links a$e p$o1ided by -le1e$ inte$p$etation and in&enious t$ans(e$ D,hat Bash -alled
kokoro+zukeE. *t ,as -e$tainly an i'p$o1e'ent o1e$ the 'e-hani-al linkin& te-hni?ue o(
"eitoku, be-ause it opened a ne, ,o$ld o( poet$y by &i1in& a ($ee$ play to the hu'an 'ind.
"he$e ,as, ho,e1e$, so'ethin& 1itally i'po$tant la-kin& in the poet$y o( .in and his
dis-iples, as is a'ply testi(ied by thei$ in(e$io$ ,o$ks ,hi-h al'ost de&ene$ated into nonsense
1e$se. 3ust ,hen people be-a'e a,a$e o( thisH,hen poets like /onsui D1!5%1J22E and
>nitsu$a D1!!11J38E ,e$e 'akin& thei$ e((o$ts to sa1e poet$y ($o' 1ul&a$ityHou$ 'aste$,
@atsuo Bash D1!KK9KE e'ployed his &$eat &enius to li(t haiku on-e and (o$ all into the
$eal' o( pe$(e-t poet$y: poet$y that e'bodied in itsel( at on-e the se$iousness and ele&an-e o(
.&i and the ($eedo' and ene$&y o( .in, indeed, poet$y that is ,o$th $eadin& hund$eds o(
yea$s a(te$ his death, o$ (o$ that 'atte$, at any ti'e in hu'an histo$y.
Bash ,as bo$n in the -ity o( <eno in the p$o1in-e o( *&a Dno, a pa$t o( @ie #$e(e-tu$eE in
1!KK. His (athe$, GoCae'on, ,as a 'ino$ samurai in the se$1i-e o( the "d (a'ily that had
$uled the -ity (o$ a nu'be$ o( &ene$ations. Bash had t,o elde$ b$othe$s, and one elde$ and
th$ee youn&e$ siste$s. Binan-ially, his (a'ily ,as not pa$ti-ula$ly (a1ou$ed, and his (athe$ is
said to ha1e suppo$ted the (a'ily by tea-hin& ,$itin& to the -hild$en o( the 1i-inity. Bash
,as -alled Ainsaku in -hildhood, and "shi-hi$, o$ so'eti'es 8hQe'on, a(te$ his -o'in& o(
a&e. *n 1!53, ,hen Bash ,as only nine yea$s old, he ente$ed the se$1i-e o( the "d (a'ily,
o((i-ially as a pa&e, but in $eality 'o$e as a study'ate o( the youn& hei$, Goshitada, ,ho ,as
olde$ than Bash by only t,o yea$s. "hus be&an thei$ $elati1ely sho$t but e0t$e'ely ,a$'
($iendship. *n 1!55 Bash9s (athe$ died.
Bo$n ,ith a deli-ate -onstitution, Goshitada took 'o$e to the a-?uisition o( lite$a$y
a--o'plish'ents than to the p$a-ti-e o( 'ilita$y a$ts. He and Bash studied the a$t o( linked
1e$se unde$ the &uidan-e o( Ai&in D1!2K1J%5E, one o( the ablest dis-iples o( "eitoku.
Goshitada 'ust ha1e been a (ai$ly &ood poet hi'sel(, (o$ he ,as &i1en the pen na'e o(
.en&in, ,hi-h had one -ha$a-te$ in -o''on ,ith his tea-he$9s pen na'e. Bash9s pen na'e in
those days ,as .b. "he (ollo,in& t,o poe's DhokkuE o( his, published in 1!!K in the
antholo&y na'ed $ayono+nakayama $h0, a$e the ea$liest $e-o$ded.
"he 'oon is the &uide,
8o'e this ,ay to 'y house,
.o sayin&, in1ites
"he host o( a ,ayside inn.
"he lea(less -he$$y,
>ld as a toothless ,o'an,
Bloo's in (lo,e$s,
@ind(ul o( its youth.
7eedless to say, one -an dete-t a hea1y in(luen-e o( the delibe$ate style o( "eitoku in these
poe's. *n 1!!5 .en&in, to&ethe$ ,ith his (ello, poets, -o'posed a -hain o( linked 1e$se
-onsistin& o( one hund$ed pie-es to -o''e'o$ate the thi$teenth anni1e$sa$y o( "eitoku9s
death. Bash -ont$ibuted se1enteen poe's, but they ,e$e ,$itten in a style ?uite si'ila$ to
that o( the poe's ?uoted abo1e.
*n 1!!! .en&in died at the a&e o( t,enty(i1e. His ea$ly and sudden death 'ust ha1e &i1en
Bash a t$e'endous sho-k, (o$ upon $etu$nin& ($o' Ayasan, ,he$e he ensh$ined the
'o$tua$y tablet o( .en&in by the o$de$ o( the be$ea1ed (athe$, Bash asked (o$ pe$'ission to
$esi&n ($o' his se$1i-e. "he pe$'ission denied, he $an a,ay to Ayto.
"he e0a-t 'anne$ in ,hi-h Bash spent the ne0t (i1e yea$s in Ayto is unkno,n. *t is
&ene$ally belie1ed, ho,e1e$, that, 'akin& his abode at the Ainpuku2i "e'ple, he studied
3apanese -lassi-s unde$ Ai&in, 8hinese -lassi-s unde$ *t "anan, and -alli&$aphy unde$
Aita'uki <n-hiku. >ne -an dete-t an ai$ o( &$eate$ ($eedo' in the poe's Bash ,$ote du$in&
his stay in Ayto. Bo$ e0a'ple,
<nable to 'eet
6t thei$ annual $endeC1ous,
"he t,o sta$s ($et
*n the ($et(ul sky o( 3uly.
8o?uettish bush-lo1e$s
.t$et-hed out on the &$ound,
*ll'anne$ed 2ust as 'u-h
6s they a$e beauti(ul.
"he sha$p-$yin& -u-koo
.ee's to ha1e dyed
4ith the blood o( his 'outh
"hese aCaleas on the $o-ks.
"he episode ,ith 3uteini is also belie1ed to be an e1ent o( those yea$s. Histo$i-ally, ho,e1e$,
the$e is nothin& kno,n about this ,o'an e0-ept that she ,as the 'ist$ess o( Bash in his
youth(ul days. *n any -ase, the (i1e yea$s in Ayto 'ust ha1e been 1e$y ($uit(ul and yet in
'any ,ays sto$'y ones (o$ Bash.
*n 1!J1 Bash $etu$ned to his nati1e pla-e, and in the sp$in& o( the (ollo,in& yea$, he
p$esented to the "en'an .h$ine o( <eno 8ity the (i$st antholo&y o( his o,n editin&, na'ed
ai 9i( *t ,as a -olle-tion o( hokku -oupled in pai$s, ea-h pai$ -o'pa$ed, 2ud&ed and
-$iti-iCed by Bash. Bo$ e0a'ple,
"i'e and ti'e a&ain,
7ipped by a si-kle
4ith a -li-kH
Beauti(ul, beauti(ul -he$$y.
8o'e and take a look
6t this tapest$y o( -he$$y,
"apest$y-oated old 'an,
@y ($iend, 3inbe.
"he (i$st poe', by Rosetu,
1K
is e0-ellent in that it p$aises the -he$$y t$ee by sayin&, T"i'e and
ti'e a&ainU. 4it o( this kind is -e$tainly a 'odel (o$ all -o'position. "he se-ond poe' by
'ysel(, t$ies to -o''uni-ate the idea that 3inbe9s $i-h -oat ,ill lose its -olou$, i( he -o'es to
see the -he$$y. *t 'ust be ad'itted, ho,e1e$, that this poe' is ,eak not only in st$u-tu$e but
also in di-tion that &i1es $eal beauty to the poe'. 5et 'e -onde'n 'y poe' the$e(o$e, by
sayin& that 3inbe9s so(t head is no 'at-h (o$ the sha$p blade o( the si-kle.
*t is possible, o( -ou$se, to suspe-t that this 2ud&'ent ,as (o$'ed by Bash out o( the
'odesty ,hi-h ,as so -ha$a-te$isti- o( hi', but at the sa'e ti'e, no one ,ill (ail to obse$1e
that this antholo&y ,as the ,o$k o( a 1e$y a'bitious 'an. .o in 1!J2, a(te$ a sho$t stay o(
se1e$al 'onths in his nati1e pla-e, Bash le(t (o$ ;do D"kyE, the -ity ,hi-h ,as th$i1in& as
the seat o( the "oku&a,a &o1e$n'ent. His (i$' dete$'ination at the ti'e o( depa$tu$e is
e0p$essed by the poe' he le(t behind.
.epa$ated ,e shall be
Bo$ e1e$, 'y ($iends,
5ike the ,ild &eese
5ost in the -louds.
7o,, unlike Ayto, ;do ,as a $elati1ely youn& and &$o,in& -ity, and the$e ,as a &$eat deal
o( a-ti1ity and ($eedo' in the ai$. Bo$ the (i$st (e, yea$s at least, Bash see's to ha1e (ound it
di((i-ult to de-ide ,hat he $eally ,anted to do. He stayed ,ith his ($iends and ad'i$e$s, and
en&a&ed in ,o$k o( a 'is-ellaneous -ha$a-te$. ;1en th$ou&h those yea$s o( &$opin&, ho,e1e$,
Bash see's to ha1e &ained an in-$easin&ly (i$' (ootin& in the poeti- -i$-les o( ;do, (o$ in
1!J5 ,hen .in -a'e ($o' Lsaka, Bash ,as a'on& the poets ,ho ,e$e in1ited to -o'pose
linked 1e$se ,ith hi'.
"he en-ounte$ ,ith .in 'ust ha1e been an epo-h'akin& e1ent (o$ Bash, (o$ upon this
o--asion he -han&ed his pen na'e ($o' .b to "sei. :eep $espe-t (o$ .in, as ,ell as his
'a$ked in(luen-e, -an be (elt in the linked 1e$se he -o'posed in the yea$ a(te$.
<nde$ this plu' t$ee,
;1en a bla-k bull ,ill lea$n
"o sin& a son& o( sp$in&
Billed ,ith -hee$(ul 2oy.
8o'in&, as it is, ($o' a hu'an th$oat,
"he son& is bette$ than the ($o&9s -ho$us.
5i&htly, (an-i(ully,
.p$inkled upon this ,o$ldH
"iny $ains o( sp$in&.
*n the (ield, youn& shoots (loat in pools
@uddy as beanpaste 'i0ed ,ith 1ine&a$.D15E
7ote in the abo1e the absolute ($eedo' o( 'o1e'ent ,hi-h ,as typi-al o( .in and his
s-hool. *n the (i$st poe', Bash identi(ies hi'sel( ,ith a bla-k bull and ad'i$es the plu' t$ee
,hi-h is the sou$-e o( his poeti- inspi$ation, na'ely .in. *n the se-ond poe', one o( the
Bash9s dis-iples p$aises hi' (o$ ,$itin& a beauti(ul son&. 4hat Bash lea$ned ($o' .in is
the spe-ial 1alue in poet$y o( the hu'ble and unp$etentious i'a&e$y o( e1e$yday li(e, as he
hi'sel( testi(ies by sayin&,
*( you des-$ibe a &$een ,illo, in the sp$in& $ain it ,ill be e0-ellent as linked 1e$se o( a hi&he$
o$de$. 5inked 1e$se o( a lo,e$ o$de$, ho,e1e$, 'ust use 'o$e ho'ely i'a&es, su-h as a -$o,
pi-kin& 'udsnails in a $i-e paddy.
Bash is $epo$ted to ha1e said, TBut (o$ .in, ,e ,ould be still li-kin& the sla1e$ o( a&ed
"eitoku.U
*n the su''e$ o( 1!J!, Bash $etu$ned to his nati1e pla-e (o$ a sho$t 1isitH,ith the
(ollo,in& poe'.
@y sou1eni$ ($o' ;do
*s the $e($eshin&ly -old ,ind
>( @ount Bu2i
* b$ou&ht ho'e on 'y (an.
Retu$nin& to ;do al'ost i''ediately, he a-ti1ely en&a&ed in ,$itin& poet$y. :u$in& the
(ollo,in& (ou$ yea$s, his poe's ,e$e published in di((e$ent antholo&ies in la$&e nu'be$s, and
also antholo&ies -onsistin& 'ainly o( his and his dis-iples9 poe's be&an to be published,
a'on& ,hi-h 6*o $angin, '/sei "ontei Dokugin Ni&0 asen, Inaka no ua7ase, and
'oki7aya no ua7ase 'ay be 'entioned. >n the ,hole, ho,e1e$, Bash9s poe's o( this
pe$iod $e(le-t the play(ul tone and in&enious style o( .in. "o ?uote so'e o( the':
6 'ale -at
#assed th$ou&h the hole
*n the b$oken hea$th
"o 'eet his 'ist$ess.
.o it ,as all $i&ht,
Geste$day has passed sa(ely,
"hou&h * ate and d$ank
Muantities o( &lobe(ish soup.
6h, it is sp$in&,
/$eat sp$in& it is no,,
/$eat, &$eat sp$in&H
6h, &$eatH
Bash, ho,e1e$, ,as not satis(ied to $e'ain in this kind o( lo,toned at'osphe$e o( the
T(loatin& ,o$ldU (o$ lon&. "he$e ,as so'ethin& in hi' ,hi-h &$adually $ebelled a&ainst it. *n
1!8%, .a'pQ,
1!
one o( the ad'i$e$s o( Bash, built (o$ hi' a s'all house in Buka&a,a, not (a$
($o' the Ri1e$ .u'ida, in a $elati1ely isolated spot. *n the ,inte$ o( the sa'e yea$, a sto-k o(
Bash t$ee Da -e$tain spe-ies o( banana t$eeE ,as p$esented to hi' by one o( his dis-iples.
Bash see's to ha1e (elt a spe-ial atta-h'ent to this t$ee ($o' the 1e$y be&innin&, (o$ he
says:
* planted in 'y &a$den
6 sto-k o( Bash t$ee,
6nd hated at on-e
"he shootin& bush-lo1e$s.
>$ a&ain about the sa'e t$ee, he ,$ote in late$ yea$s:
"he lea1es o( the Bash t$ee a$e la$&e enou&h to -o1e$ a ha$p. 4hen they a$e ,indb$oken,
they $e'ind 'e o( the in2u$ed tail o( a phoeni0, and ,hen they a$e to$n, they $e'ind 'e o( a
&$een (an $ipped by the ,ind. "he t$ee does bea$ (lo,e$s, but unlike othe$ (lo,e$s, the$e is
nothin& &ay about the'. "he bi& t$unk o( the t$ee is untou-hed by the a0e, (o$ it is utte$ly
useless as buildin& ,ood. * lo1e the t$ee, ho,e1e$, (o$ its 1e$y uselessness V * sit unde$neath
it, and en2oy the ,ind and $ain that blo, a&ainst it.
"his 'ust ha1e been anothe$ epo-h'akin& e1ent (o$ Bash, (o$ it is ($o' this t$ee that he
took a na'e (o$ his house, and e1entually a ne, pen na'e (o$ hi'sel(.
Bash9s li(e at his $i1e$side house 'ust ha1e been an e0te$nally pea-e(ul but inte$nally
a&oniCin& one, (o$ as he sat the$e 'editatin& all by hi'sel(, he be&an to $e1olt 'o$e and 'o$e
($o' the ,o$ld ,hi-h su$$ounded hi'. .i&ns o( t$e'endous spi$itual su((e$in& a$e seen in the
poe's -olle-ted in Azuma Nikki, Haikai 2iin, and "usashi Buri, ,hi-h ,e$e published sho$tly
a(te$ his $e'o1al to the $i1e$side house. "o ?uote so'e o( the':
6 bla-k -$o,
Has settled hi'sel(
>n a lea(less t$ee,
Ball o( an autu'n day.
6t 'idni&ht
<nde$ the b$i&ht 'oon,
6 se-$et ,o$'
:i&s into a -hestnut.
>n a sno,y 'o$nin&,
* sat by 'ysel(
8he,in& tou&h st$ips
>( d$ied sal'on.
"oni&ht, the ,ind blo,in&
"h$ou&h the Bash t$ee,
* hea$ the leakin& $ain
:$op a&ainst a basin.
>a$s hit ,a1es,
6nd 'y intestines ($eeCe,
6s * sit ,eepin&
*n the da$k ni&ht.
*t ,as also du$in& those yea$s o( su((e$in& that Bash -a'e to kno, the #$iest Bu--h
1J
and
p$a-tised Ien 'editation unde$ his &uidan-e. 4hethe$ Bash ,as able to attain the state o(
-o'plete enli&hten'ent is a 'atte$ open to ?uestion, (o$ he $epeatedly tells us that he has one
(oot in the othe$ ,o$ld and the othe$ (oot in this one. "he$e is little doubt, ho,e1e$, that this
oppo$tunity &a1e hi' the po,e$ to see this ,o$ld in a -onte0t in ,hi-h he had ne1e$ seen it
be(o$e.
*n 1!82, ,hen Bash9s house ,as only t,o yea$s old, it ,as dest$oyed by a (i$e that s,ept
th$ou&h a la$&e pa$t o( ;do. .o Bash sou&ht a te'po$a$y abode in the house o( Rokuso
/ohei
18
at the 1illa&e o( Hatsuka$i in the p$o1in-e o( Aai Dno, a pa$t o( Ga'anashi
#$e(e-tu$eE. "his 'is(o$tune 'ust ha1e shaken hi' -onside$ably, (o$ so'ethin& al'ost like
despai$ is hea$d in the poe's -olle-ted in "inashi %uri D6mpty 8hestnutE ,hi-h ,as
published i''ediately a(te$ his $etu$n to ;do in the su''e$ o( 1!83. "o ?uote ($o' it:
"i$ed o( -he$$y,
"i$ed o( this ,hole ,o$ld,
* sit (a-in& 'uddy sake
6nd bla-k $i-e.
4ho -ould it possibly be
"hat 'ou$ns the passin& autu'n,
8a$eless o( the ,ind
Rustlin& his bea$d=
4ith ($oCen ,ate$
"hat tastes pain(ully bitte$
6 se,e$ $at $elie1es in 1ain
His pa$-hed th$oat.
But despai$ is ha$dly the ,o$d to e0p$ess the state o( Bash9s 'ind th$ou&h those yea$s, (o$
those ,e$e the yea$s o( the deepest 'editation and se1e$est sel(s-$utiny ,hi-h de1eloped his
a,a$eness o( an i'po$tant t$uth. *t is best e0p$essed by his o,n ,o$ds.
4hat is i'po$tant is to keep ou$ 'ind hi&h in the ,o$ld o( t$ue unde$standin&, and $etu$nin&
to the ,o$ld o( ou$ daily e0pe$ien-e to seek the$ein the t$uth o( beauty. 7o 'atte$ ,hat ,e
'ay be doin& at a &i1en 'o'ent, ,e 'ust not (o$&et that it has a bea$in& upon ou$ e1e$lastin&
sel( ,hi-h is poet$y.
"his is easy to say but di((i-ult to p$a-tise. "he poe's Bash ,$ote du$in& the pe$iod 1!8%83
a$e not enti$ely ($ee ($o' the o1e$tones o( the in&enious style o( .in, but they point to the
di$e-tion in ,hi-h Bash ,as 'o1in&Hall by hi'sel(, (indin& his ,ay, step by step, th$ou&h
his o,n su((e$in&, ,ith no one to &uide hi'.
*n the su''e$ o( 1!83, Bash9s 'othe$ died in his nati1e pla-e, and in the ,inte$ o( the sa'e
yea$, a ne, house ,as built (o$ hi' in Buka&a,a by his ($iends and dis-iples. >n this
o--asion Bash ,$ote as (ollo,s:
>1e$hea$in& the hail,
@y old sel( sits a&ain
*n the ne, house,
5ike an o1e$&$o,n oak.
Bash, ho,e1e$, did not stay in this house (o$ lon&, (o$ in the su''e$ o( 1!8K, he sta$ted on
the (i$st o( his 'a2o$ 2ou$neys. 6 1i1id a--ount o( this 2ou$ney is &i1en in 'he .e1or* of a
)eather+e:pose* $keleton DNozarashi ik/E. V
4hat 'ust be bo$ne in 'ind in $eadin& the t$a1el sket-hes by Bash is that t$a1els in his day
had to be 'ade unde$ 1e$y p$e-a$ious -onditions, and that (e, people, i( any, thou&ht o(
takin& to the $oad 'e$ely (o$ pleasu$e o$ pasti'e. Bu$the$'o$e, as * ha1e al$eady indi-ated,
Bash had been &oin& th$ou&h a&oniCin& sta&es o( sel(s-$utiny in the yea$s i''ediately
p$e-edin& the t$a1els, so that it ,as ?uite -e$tain that, ,hen he le(t his house, he thou&ht the$e
,as no othe$ alte$nati1e be(o$e hi'. "o put it 'o$e p$e-isely, Bash had been -astin& a,ay
his ea$thly atta-h'ents, one by one, in the yea$s p$e-edin& the 2ou$ney, and no, he had
nothin& else to -ast a,ay but his o,n sel( ,hi-h ,as in hi' as ,ell as a$ound hi'. He had to
-ast this sel( a,ay, (o$ othe$,ise he ,as not able to $esto$e his t$ue identity D,hat he -alls the
Te1e$lastin& sel( ,hi-h is poet$yU in the passa&e abo1eE. He sa, a tenuous -han-e o( a-hie1in&
his (inal &oal in t$a1ellin&, and he le(t his house T-a$in& nau&ht (o$ his p$o1isions in the state
o( shee$ e-stasyU.
"his t$a&i- sense is &i1en beauti(ul e0p$ession in the openin& passa&e o( 'he .e1or*s of a
)eather+e:pose* $keleton( Nie,ed as a ,hole, ho,e1e$, this ,o$k is not a -o'plete su--ess,
be-ause the$e is still too 'u-h sel( (o$-ed upon itHbe-ause no, and then -$ude pe$sonal
e'otions hinde$ the $eade$ ($o' ente$in& into the ,o$ld o( its poet$y. *t is ,$itten in hai!un,
p$ose 'i0ed ,ith haiku, but the t,o a$e not pe$(e-tly a'al&a'ated. .o'eti'es p$ose is a
'e$e e0planato$y note (o$ haiku, and so'eti'es haiku stands isolated ($o' p$ose. #a$ti-ula$ly
to,a$ds the end o( the ,o$k, p$ose see's to be al'ost (o$&otten. *n spite o( these de(e-ts,
ho,e1e$, the ,o$k is a'ply $e,a$din& to those ,ho $ead it ,ith -a$e, be-ause it is the ,o$k o(
a 'an ,ho t$ies to -ast his o,n sel( a,ay and al'ost a-hie1es itHbe-ause he$e and the$e in
the ,o$k ,e (ind beauti(ul poe's and p$ose passa&es ,he$e the autho$ see's to ha1e (ound
(o$ a b$ie( 'o'ent his t$ue identity. *ndeed, 'he .e1or*s of a )eather+e:pose* $keleton is the
(i$st ,o$k o( Bash ,he$e ,e (ind &li'pses o( his 'atu$e style.
Bash $etu$ned to his ho'e in ;do in the su''e$ o( 1!85 a(te$ about nine 'onths o(
,ande$in&. *n 1!8K, ,hile he ,as still in 7a&oya, ho,e1e$, an antholo&y o( &$eat i'po$tan-e
,as published. *t ,as -alled Fuyu no Hi DA )inter DayE, and it -onstitutes the (i$st o( the so
-alled $e-en "a&or Anthologies of Bash/ DBash/ $hi1hi!u $h0E. *( one -o'pa$es the linked
1e$se o( this antholo&y ,ith the linked 1e$se D?uoted abo1eE Bash ,$ote ba-k in 1!J! unde$
the in(luen-e o( .in, one $ealiCes the &$eat spi$itual distan-e he had t$a1elled in less than a
de-ade.
4ith a bit o( 'adness in 'e,
4hi-h is poet$y,
* plod alon& like 8hikusai
6'on& the ,ails o( the ,ind.
4ho is it that $uns ,ith hu$$ied steps,
Blo,e$s o( sasan?ua dan-in& on his hat=
<nde$ the pale sky o( da,n,
* i'po$tuned a ,ate$ o((i-ial
"o pose as a ta1e$n keepe$.
6 -usto'e$ ha1in& a$$i1ed, his $ed ho$se
.tands shakin& his head 'oist ,ith de,.D19E
6bout the spe-ial (eatu$es o( Bash9s linkin& te-hni?ue * shall ha1e 'o$e to say late$. 7ote
he$e, ho,e1e$, the s,eet ele&an-e ,ith ,hi-h the ,hole poe' 'o1es. "he in(luen-e o( .in
is still (aintly dete-table, but in&enuity has &i1en pla-e to so'ethin& at on-e deepe$ and
?uiete$Hso'ethin& ,hi-h is p$obably best des-$ibed as hu'an ,isdo'.
*n 1!8! t,o antholo&ies, a7azu A7ase DFrog 8ontestE and Haru no Hi DA $pring DayE,
,e$e published. "he (o$'e$ is a -olle-tion o( poe's on ($o&s by Bash and his dis-iples. "he
latte$ is t$aditionally -ounted as the se-ond o( the "a&or Anthologies, thou&h the$e a$e only
th$ee poe's o( Bash in it. "he i'po$tan-e o( these antholo&ies $ests on a sin&le poe' by
Bash in-luded in the', ,hi-h is p$obably the best kno,n o( all his poe's. *t has al$eady
been ?uoted at the be&innin& o( the int$odu-tion, but let 'e ?uote it he$e on-e a&ain ,ith a
-o''ent by one o( his dis-iples.
2%
B$eakin& the silen-e
>( an an-ient pond,
6 ($o& 2u'ped into ,ate$H
6 deep $esonan-e.
"his poe' ,as ,$itten by ou$ 'aste$ on a sp$in& day. He ,as sittin& in his $i1e$side house in
;do, bendin& his ea$s to the so(t -ooin& o( a pi&eon in the ?uiet $ain. "he$e ,as a 'ild ,ind
in the ai$, and one o$ t,o petals o( -he$$y blosso' ,e$e (allin& &ently to the &$ound. *t ,as
the kind o( day you o(ten ha1e in late @a$-hHso pe$(e-t that you ,ant it to last (o$ e1e$. 7o,
and then in the &a$den ,as hea$d the sound o( ($o&s 2u'pin& into the ,ate$. >u$ 'aste$ ,as
deeply i''e$sed in 'editation, but (inally he -a'e out ,ith the se-ond hal( o( the poe',
6 ($o& 2u'ped into ,ate$H
6 deep $esonan-e.
>ne o( the dis-iples
21
sittin& ,ith hi' i''ediately su&&ested (o$ the (i$st hal( o( the poe',
6'idst the (lo,e$s
>( the yello, $ose.
>u$ 'aste$ thou&ht (o$ a ,hile, but (inally he de-ided on
B$eakin& the silen-e
>( an an-ient pond.
"he dis-iple9s su&&estion is ad'ittedly pi-tu$es?ue and beauti(ul but ou$ 'aste$9s -hoi-e,
bein& si'ple$, -ontains 'o$e t$uth in it. *t is only he ,ho has du& deep into the 'yste$y o( the
uni1e$se that -an -hoose a ph$ase like this.
.o 'any people in the past ha1e -o''ented upon this poe' that it see's to 'e that its poeti-
$esou$-es ha1e been ,ellni&h e0hausted. .till it is possible, * belie1e, to use this poe' as an
illust$ation o( Bash9s 'atu$e style. 4hat is $e'a$kable in this poe' is, in 'y opinion, the
sy'bolis' ,hi-h it a-hie1es ,ithout p$etendin& in the least to be sy'boli-. >n the su$(a-e
the poe' des-$ibes an a-tion o( the ($o& and its a(te$e((e-tsHa pe$(e-t e0a'ple o(
ob2e-ti1ity. But i( you 'editate lon& enou&h upon the poe', you ,ill dis-o1e$ that the a-tion
thus des-$ibed is not 'e$ely an e0te$nal one, that it also e0ists inte$nally, that the pond is,
indeed, a 'i$$o$ held up to $e(le-t the autho$9s 'ind. Bash e0plains this hi'sel( in the
(ollo,in& ,ay.
/o to the pine i( you ,ant to lea$n about the pine, o$ to the ba'boo i( you ,ant to lea$n about
the ba'boo. 6nd in doin& so, you 'ust lea1e you$ sub2e-ti1e p$eo--upation ,ith you$sel(.
>the$,ise you i'pose you$sel( on the ob2e-t and do not lea$n. Gou$ poet$y issues o( its o,n
a--o$d ,hen you and the ob2e-t ha1e be-o'e oneH,hen you ha1e plun&ed deep enou&h into
the ob2e-t to see so'ethin& like a hidden &li''e$in& the$e. Ho,e1e$ ,ell ph$ased you$
poet$y 'ay be, i( you$ (eelin& is not natu$alHi( the ob2e-t and you$sel( a$e sepa$ateHthen
you$ poet$y is not t$ue poet$y but 'e$ely you$ sub2e-ti1e -ounte$(eit.
.o'e people ha1e spoken as i( Bash ente$ed into the $ealiCation o( this p$in-iple the 1e$y
'o'ent he ,$ote the ($o& poe'. *t is di((i-ult to belie1e that it ,as so. >n the othe$ hand, it
,ould ha$dly be an e0a&&e$ation to say that all the poe's ,$itten by Bash in his 'atu$e style
a$e based on this p$in-iple, (o$ it ,as e0a-tly ,hat Bash had in 'ind ,hen he said that the$e
,as a pe$'anent, un-han&eable ele'ent DfuekiE in all poet$y. *n any -ase, -$ude
pe$soni(i-ation and in&enious sel(d$a'atiCation ha1e -o'pletely disappea$ed ($o' his
poe's. "o ?uote th$ee 'o$e:
<nde$ the b$i&ht 'oon
* ,alked $ound and $ound
"he lakeH
6ll ni&ht lon&.
Build a (i$e, 'y ($iend,
.o it ,ill -$a-kle.
* ,ill sho, you so'ethin& &ood,
6 bi& ball o( sno,.
6ll the li1elon& day
6 la$k has sun& in the ai$,
Get he see's to ha1e had
7ot ?uite his (ill.
*n the ea$ly autu'n o( 1!8J, Bash le(t on a sho$t t$ip to the Aashi'a .h$ine. "he $e-o$ds o(
this t$ip -onstitute A Visit to the ashima $hrine Dashima ik/E, the se-ond o( the t$a1el
sket-hes t$anslated in this book. 6lthou&h this is an e0t$e'ely sho$t ,o$k, it is -a$e(ully
o$&aniCed ,ith a -li'a0 D$athe$ an anti-li'a0, (o$ Bash be&uiles the $eade$ in his o,n i$oni-
,ayE (allin& 2ust ,he$e p$ose ends and poet$y be&ins in the 'iddle o( the ,o$k. *ts so'e,hat
$eli&ious at'osphe$e is due to the (a-t that it is a kind o( t$ibute to the p$iest Bu--h ,ith
,ho' Bash studied Ien. *n its ?uiet beauty and also in its pseudoa$-hai- (la1ou$, this ,o$k
o--upies a uni?ue position a'on& the t$a1el sket-hes by Bash.
6l'ost i''ediately a(te$ he $etu$ned ho'e ($o' his t$ip to the Aashi'a .h$ine, Bash le(t on
the se-ond o( his 'a2o$ 2ou$neys. "his ti'e he stayed on the $oad (o$ about ele1en 'onths,
(ollo,in& nea$ly the sa'e $oute as he did in the (i$st 2ou$ney. V "his e0pedition $esulted in
t,o t$a1el sket-hes, 'he .e1or*s of a 'ra-el+7orn $at1hel DOi no o!umiE and A Visit to
$arashina Village D$arashina ik/E, the thi$d and (ou$th o( the t$a1el sket-hes t$anslated in
this book. "he (o$'e$ -o1e$s the (i$st hal( o( the 2ou$ney ($o' ;do to .u'a, and the latte$ is
an a--ount o( the detou$ he 'ade to the .a$ashina Nilla&e Dno, a pa$t o( 7a&ano #$e(e-tu$eE
on his ,ay ho'e.
Nie,ed ($o' an a$tisti- point o( 1ie,, 'he .e1or*s of a 'ra-el+7orn $at1hel is a &$eat
ad1an-e o1e$ his p$e1ious t$a1el sket-hes, (o$ he$e (o$ the (i$st ti'e an atte'pt ,as 'ade to
b$in& p$ose and haiku into an o$&ani- ,hole. 4hen Bash le(t on the 2ou$ney o( 'he .e1or*s
of the )eather+e:pose* $keleton, as * ha1e al$eady pointed out, he ,as 2ust -o'in& out o( the
a&oniCin& yea$s o( sel(s-$utiny, and ,as busy (indin& his identity in natu$e. *n 'he .e1or*s
of a 'ra-el+7orn $at1hel, ho,e1e$, he see's to ha1e su--eeded in 'aintainin& a -e$tain
a$tisti- distan-e bet,een hi'sel( and his 'ate$ials. "hat is ,hy ,e (ind in it su-h beauti(ul
passa&es as the des-$iption o( the .u'a Bea-h at the end o( the book, supe$b indeed (o$ its
t$a&i-o'i-al e((e-t. "he book is not, ho,e1e$, ,ithout its (la,s. Bo$ one thin&, Bash ,$ites
too 'u-h a!out the t$a1elH,hy he has taken to the $oad, ho, he ,ants to ,$ite the t$a1el
sket-h, and so on. "hese state'ents, o( -ou$se, ha1e thei$ o,n 1alue, espe-ially $ead as
sou$-es o( -$iti-al and bio&$aphi-al inte$est. "hey do not ne-essa$ily, ho,e1e$, -ont$ibute to
the total e((e-t o( the ,o$k. *t see's to 'e that the$e is an ai$ o( an TAtu*eU about 'he .e1or*s
of a 'ra-el+7orn $at1hel, and that it should be $ead as a kind o( steppin&stone (o$ the
subse?uent t$a1el sket-hes.
A Visit to $arashina Village is the sho$test o( all t$a1el sket-hes by Bash. *t -a$$ies on,
ho,e1e$, the ,onde$(ul t$a&i-o'i-al e((e-t o( the -on-ludin& passa&es o( 'he .e1or*s of a
'ra-el+7orn $at1hel( *n its (ine polish, in pa$ti-ula$, it is un$i1alled and shines (o$th like a
&e'.
Bash $etu$ned ($o' his e0pedition to .u'a and .a$ashina in the autu'n o( 1!88, and al$eady
in the sp$in& o( the (ollo,in& yea$ he le(t on the thi$d o( his 'a2o$ 2ou$neys. .ho$tly be(o$e his
depa$tu$e, ho,e1e$, Arano DDesolate )il*sE, the thi$d o( the "a&or Anthologies, ,as
published. Bash9s poe's in-luded in this antholo&y $e1eal the unusual depth o( 'ind he had
a-hie1ed a(te$ a yea$ o( ,ande$in& on the $oad. Bo$ e0a'ple,
Ho, a'usin& at (i$st
Ho, 'elan-holy it ,as late$
"o see a -o$'o$ant sho,
>n the da$kenin& $i1e$.
8on(ined to 'y house
By ,inte$ ,eathe$,
* snu&&led as be(o$e
6&ainst an old pilla$.
Bash9s thi$d 'a2o$ 2ou$ney b$ou&ht hi' 'he Narro7 .oa* to the Deep North DOku no
Hosomi1hiE, the last o( the t$a1el sket-hes t$anslated in this book. 5ea1in& ;do in the sp$in&
o( 1!89, he spent 'o$e than t,o and a hal( yea$s on the $oad. *t is si&ni(i-ant, * belie1e, that
he had sold his house in ;do p$io$ to his depa$tu$e, (o$ it 'eans that he did not e0pe-t to
$etu$n ($o' this 2ou$ney. 4hat is 'o$e si&ni(i-ant, ho,e1e$, is that he ,ent to the 7o$th this
ti'e, a1oidin& the (a'ilia$ "kaid $oute. *n the i'a&ination o( the people at least, the 7o$th
,as la$&ely an une0plo$ed te$$ito$y, and it $ep$esented (o$ Bash all the 'yste$y the$e ,as in
the uni1e$se. *n othe$ ,o$ds, the 7a$$o, Road to the :eep 7o$th ,as li(e itsel( (o$ Bash, and
he t$a1elled th$ou&h it as anyone ,ould t$a1el th$ou&h the sho$t span o( his li(e he$eHseekin&
a 1ision o( ete$nity in the thin&s that a$e, by thei$ o,n 1e$y natu$e, destined to pe$ish. *n sho$t,
'he Narro7 .oa* to the Deep North is Bash9s study in ete$nity, and in so (a$ as he has
su--eeded in this atte'pt, it is also a 'onu'ent he has set up a&ainst the (lo, o( ti'e.
*t see's to 'e that the$e a$e t,o thin&s $e'a$kable about 'he Narro7 .oa* to the Deep
North( >ne is 1a$iety. ;a-h lo-ality, in-ludin& the little unkno,n pla-es Bash 1isited in
passin&, is po$t$ayed ,ith a distin-ti1e -ha$a-te$ o( its o,n, so that it is ha$dly an
e0a&&e$ation to say that Bash ,as in possession o( a 'a&i-al po,e$ to ente$ into Tthe spi$it
o( pla-eU. ;1en the people he 'et on the $oad a$e &i1en -ha$a-te$s, ea-h di((e$ent ($o' the
othe$s, so that they lea1e endu$in& i'p$essions on the i'a&ination o( the $eade$. Bu$the$'o$e,
,e o(ten (ind in $eadin& 'he Narro7 .oa* to the Deep North the'es and sub2e-ts o( his
p$e1ious t$a1el sket-hes $e-u$$in&H'odi(ied to (it a ne, patte$n, o( -ou$se, but used to -$eate
that eno$'ous 1a$iety ,hi-h alone -an &i1e the ,o$k an illusion o( bein& as la$&e as the
uni1e$se and as in(inite as ti'e itsel(.
"he othe$ $e'a$kable thin& about 'he Narro7 .oa* to the Deep North is its unity. "o use
Bash9s o,n -lassi(i-ation, 1a$iety, bein& the te'po$a$y, -han&eable ele'ent Dry0k/E, is in the
substan-e D&itsuE o( the ,o$k. <nity, on the othe$ hand, is the pe$'anent, un-han&eable
ele'ent e0istin& in the essen-e DkyoE o( the ,o$k. *n othe$ ,o$ds, unity is in1isible on the
su$(a-e, but it is the hidden 1ital (o$-e that shapes the ,o$k into a 'eanin&(ul ,hole. *n 'he
Narro7 .oa* to the Deep North, ,e o(ten (ind that e1en pla-ena'es a$e 'ade to -ont$ibute
to the total e((e-t. *ndeed the ,hole st$u-tu$e o( the ,o$k is so dete$'ined as to 'eet the
de'ands o( unity. "ake the 'a2o$ e1ents o( the 2ou$ney, (o$ e0a'ple. "hey a$e a$$an&ed not
si'ply linea$ly a--o$din& to -h$onolo&i-al se?uen-e, but also -i$-ula$ly, a--o$din& to ti'e o(
anothe$ so$t, as is de'onst$ated in the (ollo,in& table, ,he$e the e1ents on the le(t hal( o( the
-i$-le 'ust be $elated to the opposin& e1ents on the $i&ht hal( o( the -i$-le.
"his is, o( -ou$se, a si'pli(i-ation, and the ,o$k as a ,hole does not p$esent neat $e&ula$ity
like this. 7e1e$theless, anyone ,ho $eads the ,o$k ,ith -a$e ,ill not (ail to noti-e the
t$e'endous e((o$t Bash 'akes to a-hie1e unity th$ou&h 1a$iety. .-hola$s ha1e pointed out
that in his atte'pt to a-hie1e unity Bash took su-h libe$ty as to -han&e the natu$al -ou$se o(
e1ents, o$ e1en in1ent (i-titious e1ents. "he $esult is a supe$b ,o$k o( a$t ,he$e unity
do'inates ,ithout dest$oyin& 1a$iety.
3ust one 'o$e thin& need be 'entioned about 'he Narro7 .oa* to the Deep North( *n his
p$e-edin& t$a1el sket-hes, as * ha1e al$eady pointed out, Bash (ailed to 'aintain an ade?uate
balan-e bet,een p$ose and haiku, 'akin& p$ose subse$1ient to haiku, o$ haiku isolated ($o'
p$ose. *n the p$esent t$a1el sket-h, ho,e1e$, Bash has 'aste$ed the a$t o( ,$itin& hai!un so
-o'pletely that p$ose and haiku illu'inate ea-h othe$ like t,o 'i$$o$s held up (a-in& ea-h
othe$. "his is so'ethin& no one be(o$e hi' ,as able to a-hie1e, and (o$ this $eason, 'he
Narro7 .oa* to the Deep North is -ounted as one o( the -lassi-s o( 3apanese lite$atu$e.
Bash t$a1elled the &$eat a$- o( the no$the$n $outes DLshQkaid and Hoku$ikudE in si0
'onths, a$$i1in& inL&aki in the autu'n o( 1!89. "his is ,he$e the $e-o$d o( 'he Narro7
.oa* to the Deep North b$eaks o((. Bash, ho,e1e$, did not $etu$n to ;do till the ,inte$ o(
1!91. He spent this t,oyea$ pe$iod t$a1ellin& a &$eat deal in the 1i-inity o( his nati1e pla-e,
'akin& sho$t but happy so2ou$ns at the houses o( his dis-iples. 6'on& su-h houses, /en2Qan
Dthe Nisioninhabited HouseE and @u'yan Dthe House o( 6nony'ityE, both situated not (a$
($o' 5ake Bi,a, and Rakushisha Dthe House o( Ballen #e$si''onsE in the subu$bs o( Ayto,
should be 'entioned. >( the last, Bash ,$ote as (ollo,s:
"he $et$eat o( 'y dis-iple, Ayo$ai,
22
is in the subu$bs o( Ayto, a'on& the ba'boo thi-kets o(
.hi'o .a&aHnot (a$ ($o' eithe$ @ount 6$ashiya'a o$ theLi&a,a Ri1e$. *t is an ideal pla-e
(o$ 'editation, (o$ it is hushed in silen-e. .u-h is the laCiness o( 'y ($iend, Ayo$ai, that his
,indo,s a$e -o1e$ed ,ith tall &$ass &$o,in& $ank in the &a$den, and his $oo(s a$e bu$ied
unde$ the b$an-hes o( o1e$&$o,n pe$si''on t$ees. "he house has de1eloped a nu'be$ o(
leaks, and the lon& $ain o( @ay has 'ade st$a, 'ats and pape$ s-$eens te$$ibly 'ouldy, so
that it is di((i-ult to (ind a pla-e to lie do,n. *$oni-ally, the sun $ea-hin& into the house is the
&i(t ,ith ,hi-h the 'aste$ o( the house ,el-o'es his &uest. * ,$ote:
5on& $ain o( @ay,
* sa, on the -lay ,all
6 s?ua$e 'a$k o( ,$itin& pape$
"o$n $e-ently o((.
Bash ,$ote an e?ually beauti(ul 6ssay on the Vision+inha!ite* House D%en&0an no iE, and
$aga Diary D$aga NikkiE ,as also a p$odu-t o( his stay at Rakushisha.
:u$in& the t,oyea$ pe$iod ,e a$e no, dealin& ,ith, t,o antholo&ies o( &$eat i'po$tan-e
,e$e published. "hey a$e Hisago DA %our*E and $aru "ino DA 8oat for a "onkeyE, the (ou$th
and (i(th o( the "a&or Anthologies( "he (o$'e$ is a sli' 1olu'e -onsistin& o( (i1e linked
1e$ses, but the latte$ is a la$&e -olle-tion o( so'e (ou$ hund$ed poe's DhokkuE plus (ou$ linked
1e$ses and the 6ssay on the Vision+inha!ite* House, and it is &ene$ally belie1ed that those
t,o antholo&ies de'onst$ate the 'atu$e style o( Bash Dsh/f0E at its hi&hest pit-h. "o ?uote
so'e poe's DhokkuE ($o' this pe$iod:
6 'an9s 1oi-e pie$-in&
"h$ou&h the ai$,
"he no$the$n sta$s e-ho
6 beatin& (ullin&blo-k.
*n the (i$st sho,e$
>( ea$ly ,inte$,
;1en a 'onkey see's to -$a1e
Bo$ a $ain-oat.
<nde$ a -he$$y t$ee,
.oup, salad, and all else
6$e b$ou&ht to us,
:$essed in &ay blosso's.
4ith a ($iend in L'i
* sat do,n, and bid (a$e,ell
"o the depa$tin& sp$in&,
@ost $elu-tantly.
*( nothin& else,
* ha1e this t$ee at least
"o take shelte$ inH
6 pasania in su''e$.
Ha$dly a hint
>( thei$ ea$ly death,
8i-adas sin&in&
*n the t$ees.
<nde$ the b$i&ht 'oon,
"he -hild$en o( the 1i-inity
6ll lined up
>n the po$-h o( a te'ple.
6 si-k st$ay &oose
Ballin& into -old da$kness,
* slu'be$ed by 'ysel(H
6 ni&ht on the 2ou$ney.
Bo$ his 'o$nin& tea
6 p$iest sits do,n
*n utte$ silen-eH
8on($onted by -h$ysanthe'u's.
4ith you$ sin&in&
@ake 'e lonelie$ than e1e$,
Gou, solita$y bi$d,
8u-koo o( the (o$est.
6 ,hite na$-issus
6nd a ,hite pape$ s-$een
*llu'inate ea-h othe$
*n this ?uiet $oo'.
7o,, taken at the su$(a-e le1el, all these poe's a$e pu$ely des-$ipti1e, but i( one b$oods upon
these poe's lon& enou&h, one $ealiCes that they also ha1e a sy'boli- ?uality. "his sy'boli-
?uality inhe$ent in the poe' is -alled by Bash sa!i DlonelinessE, shiori Dtende$nessE, and
hosomi Dslende$nessE, dependin& on the 'ode o( its 'ani(estation and the de&$ee o( its
satu$ation. 6lthou&h de(inition o( these te$'s in any st$i-t 'anne$ ,ould only lead to
'isunde$standin&, let us take, (o$ e0a'ple, ,hat Bash says Dth$ou&h the 'outh o( a
dis-iple
23
E about sa!i(
$a!i is in the -olou$ o( a poe'. *t does not ne-essa$ily $e(e$ to the poe' that des-$ibes a
lonely s-ene. *( a 'an &oes to ,a$ ,ea$in& a stout a$'ou$ o$ to a pa$ty d$essed up in &ay
-lothes, and i( this 'an happens to be an old 'an, the$e is so'ethin& lonely about hi'. $a!i is
so'ethin& like that. *t is in the poe' $e&a$dless o( the s-ene it des-$ibesH,hethe$ it is lonely
o$ &ay. *n the (ollo,in& poe', (o$ e0a'ple, * (ind a &$eat deal o( sa!i(
<nde$ the -he$$y
Blo,e$ &ua$ds ha1e asse'bled
"o -hatte$H
"hei$ hoa$y heads to&ethe$.
*n othe$ ,o$ds, sa!i is the sub2e-ti1e ele'ent, deeply bu$ied in the ob2e-ti1e ele'ent o( the
poe', but &i1in& it a p$o(ound ,ealth o( sy'boli- 'eanin&. *t is indeed by these ?ualities o(
sa!i, shiori, and hosomi that Bash9s 'atu$e style is distin&uished ($o' the styles o( his
p$ede-esso$s o$ his o,n i''atu$e style.
*t is ne-essa$y, * belie1e, (o$ us to tu$n at this point to the spe-ial (eatu$es o( Bash9s linkin&
te-hni?ue. * ha1e al$eady pointed out that "eitoku9s linkin& te-hni?ue ,as based on 1e$bal
asso-iation Dmono+zukeE and .in9s on -le1e$ inte$p$etation and in&enious t$ans(e$ Dkokoro+
zukeE. Bash says that in his -ase the link is p$o1ided by ,hat he -alls the a$o'a DnioiE, e-ho
Dhi!ikiE, -ountenan-e DomokageE, -olou$ DutsuriE and $ank DkuraiE o( the p$e-edin& poe'. He$e
a&ain the st$i-t de(inition o( the indi1idual te$'s ,ould only -ause -on(usion, but let us take
as an e0a'ple ,hat Bash Da&ain th$ou&h the 'outh o( a dis-iple
2K
E says about hi!iki(
4hen you hit so'ethin&, the noise -o'es ba-k to you in a 'atte$ o( an instant. "his is ,hat *
'ean by hi!iki( *n the (ollo,in& pai$, (o$ e0a'ple, the se-ond poe' is a pe$(e-t e-ho o( the
(i$st.
6&ainst the ,ooden (loo$
* th$e, a sil1e$&laCed -up
B$eakin& it to pie-es.
5ook, no,, the slende$ -u$1e
>( you$ s,o$d, hal(d$a,n.
;1en th$ou&h this b$ie( e0planation, * think it is -lea$ that the spe-ial (eatu$es o( Bash9s
linkin& te-hni?ue e0ist in its i'a&inati1e ?uality. *nstead o( lashin& the poe's to&ethe$
(o$-ibly by ,it o$ in&enuity, Bash 'oo$s the', so to speak, ,ith a (ine th$ead o( i'a&inati1e
ha$'ony, &i1in& ea-h poe' (ai$ play. *t is indeed by 1i$tue o( this i'a&inati1e linkin&
te-hni?ue Dnioi+zukeE that Bash ,as able to a-hie1e an unp$e-edented de&$ee o( pe$(e-tion in
his linked 1e$se. 5et 'e ?uote he$e the (i$st (e, poe's o( a linked 1e$se -olle-ted in $aru
"ino as an e0a'ple o( his supe$b e((e-t.
8o'bed in neat o$de$
By the (i$st sho,e$
>( ,inte$H
"hi-k plu'a&e o( a kite.
6 sto$' ha1in& passed, (allen lea1es
Ha1e settled the'sel1es on the &$ound.
;a$ly in the 'o$nin&
* ,ade a-$oss the s,ollen $i1e$
@y t$ouse$s in ,ate$.
.ilent ai$ is b$oken by (a$'e$s $in&in&
#ie$-in& ala$'s to d$i1e a bad&e$ a,ay.
*n t,ili&ht, the ho$ned 'oon
Rea-hes to the $uined latti-edoo$
"h$ou&h an o1e$&$o,n i1y.
He$e is a &$eedy 'an ,ho keeps to hi'sel(
"he beauti(ul pea$s $ipe in his &a$den.D25E
He$e is indeed so'ethin& that is -o'pa$able to .&i9s 'aste$pie-e in se$iousness and
ele&an-e, and to the best o( .in9s poe's in ($eedo' and ene$&y.
Bash $etu$ned to ;do ($o' his thi$d 'a2o$ 2ou$ney a(te$ t,o and a hal( yea$s o( ,ande$in&,
in the ,inte$ o( 1!91, and in the sp$in& o( the (ollo,in& yea$ a ne, house ,as built (o$ hi'.
Bash spent the ne0t t,o and a hal( yea$s in this house. Bo$ a nu'be$ o( $easons, ho,e1e$,
Bash9s li(e o( this pe$iod ,as not a happy one. 6n unusual de&$ee o( ennui is e0p$essed in
the essay he ,$ote in 1!93 to announ-e his dete$'ination to li1e in -o'plete isolation.
*( so'eone -o'es to see 'e, * ha1e to ,aste 'y ,o$ds in 1ain. *( * lea1e 'y house to 1isit
othe$s, * ,aste thei$ ti'e in 1ain. Bollo,in& the e0a'ples o( .onkei and "o&o$, the$e(o$e, *
ha1e de-ided to li1e in -o'plete isolation ,ith a (i$'ly -losed doo$. @y solitude shall be 'y
-o'pany, and 'y po1e$ty 'y ,ealth. 6l$eady a 'an o( (i(ty, * should be able to 'aintain this
sel(i'posed dis-ipline.
>nly (o$ 'o$nin& &lo$ies
* open 'y doo$H
:u$in& the dayti'e * keep it
"i&htly ba$$ed.
",o antholo&ies o( i'po$tan-e ,e$e the p$odu-t o( these t,o and a hal( yea$s in ;do. "hey
a$e Fukaga7a $h0 DFukaga7a AnthologyE and $umi*a7ara DA 8har1oal $a1kE, the latte$
bein& the si0th o( the "a&or Anthologies( *n the poe's Bash ,$ote du$in& this pe$iod,
ho,e1e$, the$e ,as a st$an&e sense o( deta-h'ent ($o' li(e, ,hi-h so'eti'es p$odu-ed a
sli&htly -o'i-al e((e-tH,hat Bash -alled karumi Dli&htnessE, but at othe$ ti'es a so'e,hat
so'b$e e((e-t. Bo$ e0a'ple,
6 bush,a$ble$,
8o'in& to the 1e$andahed&e,
5e(t its d$oppin&s
>n the $i-e-akes.
"he ,ild -$ies o( a -at
Ha1in& been hushed,
"he so(t bea's o( the 'oon
"ou-hed 'y bed$oo'.
4a$'in& 'ysel(
6t an ashy (i$e,
* sa, on the ,all
"he shado, o( 'y &uest.
"he 1oi-e o( a -u-koo
:$opped to the lake
4he$e it lay (loatin&
>n the su$(a-e.
8on(ined by ,inte$,
6 'an is &ua$ded
By an a&eold pine
>n the &olden s-$een.
*n auda-ious ?ui-kness
"he sp$in& sun $ose
>1e$ a 'ountainpath,
.,eet s-ent o( the plu'.
*n the sky
>( ei&ht o$ nine ya$ds
6bo1e the ,illo,H
:$iCClin& $ain.
*n the sp$in& o( 1!9K, Bash le(t on the last o( his 'a2o$ 2ou$neys. "his ti'e he ,as
dete$'ined to t$a1el, i( possible, to the southe$n end o( 3apan. He ,as al$eady (i(ty, ho,e1e$,
and his health ,as (ailin&. "he poe's he ,$ote on this 2ou$ney su&&est so'ethin& al'ost like
a shado, o( death. Bo$ e0a'ple,
6utu'n d$a,in& nea$,
@y hea$t o( itsel(
*n-lines to a -osy $oo'
>( (ou$andahal( 'ats.
@y (eet a&ainst
6 -old plaste$ed ,all,
* took a 'idday nap
5ate in su''e$.
6n-ient -ity o( 7a$a,
6n-ient i'a&es o( Buddha,
.h$ouded in the s-ent
>( 8h$ysanthe'u's.
:eep is autu'n,
6nd in its deep ai$
* so'eho, ,onde$ed
4ho 'y nei&hbou$ is.
4hile Bash ,as lin&e$in& in Lsaka and its 1i-inity, he (ell a 1i-ti' to ,hat see's to ha1e
been an atta-k o( dysente$y. He$e is a 1i1id des-$iption o( his -ondition (ou$ days be(o$e his
death by one o( his dis-iples.
2!
>n the ni&ht o( >-tobe$ the ei&hth, thou&h it ,as al'ost 'idni&ht, :onshQ ,as su''oned to
ou$ 'aste$9s bedside. .oon * hea$d the -latte$ o( an ink ba$ $ubbin& a&ainst a slab. * ,onde$ed
,hat 'anne$ o( lette$ it ,as, but it tu$ned out to be a poe'. *t ,as entitled, T.i-k in bedU.
.eiCed ,ith a disease
Hal(,ay on the $oad,
@y d$ea's keep $e1ol1in&
Round the ,ithe$ed 'oo$.
5ate$ * ,as su''oned by ou$ 'aste$, ,ho told 'e that he had in 'ind anothe$ poe' ,hi-h
ended like this:
Round, as yet $ound,
@y d$ea's keep $e1ol1in&.
6nd he asked 'e ,hi-h one * p$e(e$$ed. * ,anted to kno, ,hat p$e-eded these lines, o(
-ou$se, but thinkin& that 'y ?uestion ,ould 'e$ely &i1e hi' dis-o'(o$t, * said * p$e(e$$ed the
(i$st one. 7o, it is a 'atte$ o( deep $e&$et that * did not put the ?uestion to hi', (o$ the$e is no
,ay o( kno,in& ,hat a beauti(ul poe' the se-ond ,as.
"hus died on 12 >-tobe$ 1!9K one o( the &$eatest &eniuses in 3apanese lite$atu$e, and (i1e
yea$s a(te$ his death, the last o( his "a&or Anthologies, 3oku $aru "ino DA 8oat for a
"onkey, 8ontinue*E, ,as published, bein& the -olle-tion o( the poe's he ,$ote in the last (e,
yea$s. Bo$tunately, ho,e1e$, his ,o$ks su$1i1ed hi', and th$ou&h the' ,e -an ente$ into the
inne$ depths o( this &$eat 'an. His t$a1el sket-hes, in pa$ti-ula$, sho, hi' at his best o$ on his
,ay to his best, (o$ they a$e, as * ha1e al$eady pointed out, the p$odu-ts o( his $ipest yea$s.
Notes
1. 8ount the nu'be$ o( 1o,els to $e-kon syllables. "he 3apanese lan&ua&e (alls 'ost
natu$ally into b$eathin& &$oups o( (i1e o$ se1en syllables.
2. "his haiku is by Bash, p$obably the best kno,n o( his 'aste$pie-es.
3. "his 7aka, taken ($o' "any/ $h0, is by Ga'abeno6kahito, a natu$e poet in the
yea$s o( "e'py DJ29K8E.
K. "his 7aka, taken ($o' okin $h0, is by Aino"o'ono$i, a -onte'po$a$y o( Aino
"su$ayuki D8!8=9K5E.
5. "his linked 1e$se is taken ($o' 'oshiyori 3uin/( "he (i$st poe' is by Lshik-hino
@itsune, a -onte'po$a$y o( "su$ayuki and the se-ond is by "su$ayuki hi'sel(.
!. "his linked 1e$se is taken ($o' $h0i $h0( "he (i$st poe' is by an anony'ous -ou$t lady
and the se-ond by Goshi'ineno@unesada, ,ho is bette$ kno,n as Hen2 D81!9%E.
J. "his linked 1e$se is taken ($o' iny/ $h0( "he (i$st poe' is by ;i&en and the se-ond
by ;isei. "hese p$iests li1ed in the 'iddle o( the Heian pe$iod.
8. "his linked 1e$se is taken ($o' Ima agami( "he (i$st poe' is by Bu2i,a$anoAinno$i
D11%38%E, the se-ond by @ina'otono6$ihito D11%3KJE and the thi$d by an
anony'ous ,o'an.
9. "his linked 1e$se is by .&i and his dis-iples. "he sta$tin& pie-e is by .&i hi'sel(
D1K2115%2E, the se-ond by .hhaku D1KK3152JE, the thi$d by .-h D1KK81532E, and
this o$de$ is (ollo,ed in the pa$t o( the se$ies ?uoted he$e.
1%. "his linked 1e$se is taken ($o' $hinsen Inu+'suku!a $h0 edited by .kan Ddates
unkno,nE.
11. "his linked 1e$se is taken ($o' "oritake Dokugin(
12. "his linked 1e$se is taken ($o' %yokkai $h0( "he (i$st poe' is by .eish ,ho is bette$
kno,n as "eishitsu D1!1%J3E and the se-ond is by "eitoku D15J11!53E.
13. "his linked 1e$se is by .in and his dis-iples. *t is -o''only kno,n as Danrin
'oppyaku In( "he sta$tin& pie-e is by .in D1!%582E, the se-ond by .essai, the thi$d by
Iaishiki D1!K31J19E, and the (ou$th by *ttetsu.
1K. Ha$dly anythin& is kno,n about this poet.
15. "his linked 1e$se is taken ($o' 6*o .y/gin( "he sta$tin& pie-e is by Bash, the se-ond
by .hinsh ,ho is bette$ kno,n as .od D1!K21J1!E, the thi$d a&ain by .hinsh, and
the (ou$th by Bash.
1!. .a'pQ D1!KJ1J32E ,as a $i-h 'e$-hant in ;do, and a-ted in 'any ,ays as a (inan-ial
suppo$te$ o( Bash. He ,as a &ood poet hi'sel(, ,hose style 'ay be best $ep$esented
by the (ollo,in& poe'.
Blinded by the &li''e$
>( the spade * a',
6s a (a$'e$ ,ields it
*n a sp$in& (ield.
1J. Bu--h D1!K31J15E ,as the head p$iest o( the Ao'pon2i "e'ple, t,enty(i$st in
des-ent ($o' the (ounde$. Bash p$a-tised Ien unde$ his &uidan-e at the 8hkei2i
"e'ple in ;do du$in& the yea$s o( ;'p and "enna D1!J38KE.
18. Rokuso /ohei Ddates unkno,nE ,as one o( the pupils o( Bu--h in Ien.
19. "his linked 1e$se, taken ($o' Fuyu no Hi, is entitled Tthe 4ails o( the 4indU
DTogarashiUE. "he sta$tin& pie-e is by Bash, the se-ond by Gasui D1!581JK3E, the
thi$d by Aakei D1!K81J1!E, and the (ou$th by 3Q&o D1!5K1J1JE.
2%. "he dis-iple9s na'e is .hik D1!!51J31E. "his passa&e is taken ($o' uzu no
"atsu!ara, a -olle-tion o( his -$iti-al essays.
21. "he dis-iple9s na'e is Aikaku D1!!11J%JE, p$obably the 'ost i'po$tant o( Bash9s
dis-iples. He is ,ell kno,n (o$ the 'as-uline sha$pness o( his ,it and his habit o(
d$inkin&. His style is p$obably best $ep$esented by the (ollo,in& poe':
5o-ked (i$'ly
By a hea1y ba$H
"his ,ooden doo$
<nde$ the ,inte$ 'oon.
22. Ayo$ai D1!511J%KE ,as a nati1e o( 7a&asaki, ,hose i'po$tan-e as a dis-iple o( Bash
is p$obably se-ond only to Aikaku. 6 -olle-tion o( his -$iti-al essays entitled yorai
$h/ is the 'ost i'po$tant sou$-e (o$ Bash9s ideas on poet$y. "he style o( his poet$y is
p$obably best $ep$esented by the (ollo,in& poe':
<nde$ the -he$$y
Blo,e$ &ua$ds ha1e asse'bled
"o -hatte$H
"hei$ hoa$y heads to&ethe$.
23. Ayo$ai. "his passa&e is taken ($o' yorai $h/(
2K. "his passa&e, like the p$e-edin& one, is taken ($o' yorai $h/( "he linked 1e$se
?uoted he$e is taken ($o' Izayoi $h/ edited by /inboku. "he (i$st poe' is by RyQk
and the se-ond by .hi&ena$i.
25. "his linked 1e$se, taken ($o' $aru "ino, is entitled T"he Bi$st .ho,e$ o( 4inte$U
DTHatsu $higureUE. "he sta$tin& pie-e is by Ayo$ai, the se-ond by Bash, the thi$d by
Bon-h D=1J1KE, the (ou$th by Bu'iyuki, the (i(th by Bash, and the si0th by Ayo$ai.
2!. "he dis-iple9s na'e is .hik. "his passa&e is taken ($o' his Oi Nikki(
"he 5oneliness o( @atsuo Bash by 3a'es H. Boa$d
in: 'he Biographi1al 5ro1ess: $tu*ies in the History an* 5sy1hology of .eligion, edited by
B$ank ;. Reynolds and :onald 8apps, @outon, 19J!, pp. 3!391.
*n 1918, 6kuta&a,a RyQnosuke, one o( the leadin& 3apanese ,$ite$s o( this -entu$y, ,$ote a
'iniatu$e pie-e o( histo$i-al (i-tion -alled TAa$enoshU DT7otes on 4ithe$ed BieldsUE.
1
*t
des-$ibed the death o( @atsuo Bash D1!KK1!9KE, &$eatest o( all haiku poets and one o( the
&iants o( 3apan9s -ultu$al he$ita&e, ,hose 'ost (a'ous 1e$ses -an today be ?uoted by 1i$tually
e1e$y 3apanese. >ne o( those 1e$ses, $eputed to be his last, &a1e the title to 6kuta&a,a9s sho$t
,o$k:
"abi ni yande
Gu'e ,a ka$ eno o
Aake 'a&u$u
*ll on a 2ou$ney,
@y d$ea's o1e$ ,ithe$ed (ields
@eande$.
DNB3, 32JE
2
*n his ,o$k, 6kuta&a,a des-$ibed ho, Bash9s dis-iples sin-e$ely &$ie1ed on the o--asion o(
his death, but &$ie1ed o1e$ the loss o( thei$ 'aste$. 4hile they ,e$e so o--upied, Bash, the
'an, passed ?uietly a,ay, alone in the 'idst o( his dis-iples.
Bo$ o1e$ t,o hund$ed yea$s be(o$e 6kuta&a,a ,$ote this, the 'aste$ Bash had been the
ob2e-t o( a -ult ,hi-h ,as insepa$able but distin-t ($o' his lite$a$y le&a-y. 6s Bash9s s-hool
o( haiku, the $h/mon, ?ui-kly be-a'e o$thodo0, the 'e'o$ies and p$a-ti-es o( this -ult
sp$ead th$ou&h haiku -i$-les all o1e$ 3apan. "he 'e'o$ies ,e$e o( a ,ande$in& sa&e ,ho
(ound t$uth by -o''union ,ith natu$e th$ou&h poet$y. "he p$a-ti-es ,e$e o( t,o kinds: D1E
an annual ,o$ship o( Bash by &$oups o( poets, and D2E the i'itation o( Bash9s ,ande$in&
li(e by -e$tain e0t$ao$dina$y indi1iduals.
"he -lea$est e1iden-e o( the ,o$ship o( Bash is the -on(e$$al o( shingo o$ Tka'i na'esU
upon hi'.
3
"he (i$st -on(e$$al -a'e one hund$ed yea$s a(te$ his death, in 1J93, ,hen the -hie(
o( the .hinto head?ua$te$s Dthe 2ingi HakuE ent$usted a haiku &$oup ($o' AyQshu to ensh$ine
Bash as "sei Reishin.
K
"his &$antin& o( shingo, ho,e1e$, only -on(i$'ed and added di&nity
to -e$e'onies al$eady e0istin& th$ou&hout the -ount$y. >( &$eatest i'po$tan-e ,as the
obse$1ation o( the anni1e$sa$y o( Bash9s death Dthe t,el(th o( the tenth 'onthE, a no$'al
p$a-ti-e (o$ the -o''e'o$ation o( an an-esto$ o$ se-ta$ian leade$, p$obably be&un the (i$st
yea$ a(te$ Bash9s death by his dis-iples. "his ,o$ship not only $ea((i$'ed the ideal o( a 'an
,ho had a-hie1ed (ul(ill'ent th$ou&h haiku, but also bound the haiku &$oup to -o''on
loyalties by o((e$in& thanks to Bash (o$ his poeti- le&a-y. "he na'e o( the annual -e$e'ony
e1entually be-a'e $higureki, o$ T;a$ly 4inte$ Rain 8o''e'o$ationU, a(te$ an app$op$iate
haiku Tseason ,o$dU Dkigo(E
6 $e-o$d o( su-h a -e$e'ony nea$ 7a&oya in 1J93 has -o'e do,n to us in so'e detail.
5
*t
tells the sto$y o( a lo-al poet -alled BokuCan ,ho, in hono$ o( the hund$edth anni1e$sa$y o(
Bash9s death, ,as tou$in& all the &athe$in&s o( poets bein& held (o$ the o--asion. 6$$i1in& at
a pla-e -alled .hi'o&, he (ound people ,ho had p$ese$1ed a 'usi-al inst$u'ent D1hikuE and
a po$table ,$itin& desk Doi,E ,hi-h they said ,e$e le(t by Bash on one o( his t$a1els.
BokuCan also lea$ned that a -eda$ $eputedly planted by Bash had $e-ently blo,n do,n and
,as bein& used as a $id&epole in a ,oodshed. 6s he had been disappointed in the statues o(
Bash he had seen on his tou$, BokuCan, pu$i(yin& hi'sel( be(o$ehand, took (i1e o$ si0 (eet o(
this ,ood and -a$1ed a statue o( Bash, settin& it up in a spe-ial hall o$ zo*/( "h$ee yea$s late$
the$e ,as a -eleb$ation o( Tthe openin& o( the eyesU Bkaigen, o( Buddhist o$i&inE o( this statue,
a p$a-ti-e no$'ally used in the dedi-ation o( a sa-$ed i'a&e. "his -e$e'ony in1ol1ed all o(
the 'a2o$ poets o( the a$ea, and the list o( its (ood, in-ense, (lo,e$s, 'usi- and othe$
-o'ponents is t$uly sta&&e$in&. "he 'ost (a'ous pa$ti-ipant on this o--asion ,as .hi$ Do$
Bi,aen, 1JK21812E, ,hose -lose identi(i-ation o( Bash ,ith natu$e, su-h that Bash ,as
e1en p$esent in the $ain, -an be seen in the (ollo,in& 1e$se -o'posed at one su-h anni1e$sa$y:
Go ni (u$u,a
.a$a ni Bash no
.hi&u$e kana.D!E
Ballin& on the ,o$ld,
6($eshHBash9s
;a$ly ,inte$ $ain Dshi&u$eE.
Besides these (o$'al o--asions, the -ult o( Bash ,o$ship also -ente$ed in(o$'ally on pla-es
,he$e he had ,$itten (a'ous 1e$ses, o(ten 'a$ked ,ith 'e'o$ial stones Dku!iE
J
, and upon
Bash 'e'o$ial 'ounds BtsukaC(
8
.u-h 'ounds ,e$e built 1e$y ea$ly in Bash9s (a'ily
te'ple, at ;do, and in @ino p$o1in-e, but ,e$e soon ,idesp$ead.
9
4e (ind the &$eat .hinto
s-hola$, @otoo$i 7o$ina&a D1J3%18%1E, ,$itin& be(o$e a statue o( Bash:
Buta$i nake
>kina na$i ke$i
Aono 'i-hi ni
>kina to ieba
Aono okina nite.D1%E
@aste$ o( ,ho'
"he$e is no e?ual+
"he 'aste$ ,ho
4alked this $oad
4as this one alone.
>nly a (e, people a-tually i'itated Bash9s ,ande$in& li(e+ the 'ost i'po$tant a'on& the'
,as Aobayashi *ssa D1J!3182JE. #a$allel to ,hat ,e ,ill see in Bash9s bio&$aphy, *ssa9s
sepa$ation ($o' the no$'al (ab$i- o( li(e led to his pu$suit o( inti'a-y ,ith natu$e th$ou&h
haiku. His 'othe$ died ,hen he ,as an in(ant and he ,as $aised pa$tly by his &$and'othe$.
<pon his &$and'othe$9s death, he ,as sent by a -$uel step'othe$ to ;do ,he$e he studied
haiku. 6(te$ his (athe$9s death, *ssa had a lon& st$u&&le (o$ his inhe$itan-e ,hi-h p$e1ented
hi' ($o' li1in& at ho'e. Bo$ yea$s he ,ande$ed and ,as (inally able to settle and 'a$$y, but
his ,i(e and (ou$ -hild$en all died in a sho$t ti'e. He $e'a$$ied a&ain only sho$tly be(o$e his
death.
"his t$a&i- li(e d$o1e *ssa to spend 'o$e yea$s on the $oad than Bash and to ,$ite (o$ty
thousand 1e$ses -o'pa$ed to Bash9s one thousand. *ssa9s substitution o( natu$e (o$ (a'ily
sho,s itsel( in his -o'panionship ,ith all li1in& thin&s. *nstead o( dissol1in& his sel( into an
i'pe$sonal ,o$ld as Bash did, he pe$sonaliCed the $est o( the ,o$ld. He talked to bu&s and
($o&s and ,$ote se1e$al senti'ental 1e$ses identi(yin& hi'sel( ,ith 'othe$less bi$ds. His use
o( Bash as a 'odel -o'es a-$oss 'ost -lea$ly in the (ollo,in& 1e$se:
Basho sa'a
7o sune o ka2itte
GQsuCu'i.D11E
7ibblin& at
@aste$ Bash9s shinsH
"he -ool o( the e1enin&.
T7ibblin& at @aste$ Bash9s shinsU $e(e$s to his -opyin& Bash. "hat his i'a&e o( Bash ,as
o( a sa&e in ha$'ony ,ith natu$e is sho,n by the (ollo,in&, ,$itten (o$ that annual Bash
-o''e'o$ation day:
*kinaki ya
Aa$i 'o hei,a na
7a$abi sa'a.D12E
"he old 'aste$9s -o''e'o$ationH
"he &eese, too, see'
"o be 'u'blin& to&ethe$.
*t 'i&ht not be too $ash to -all Bash a (ounde$, then, o( a s'all -ult o( poets ,ho looked
ba-k to hi' as a ,ande$in& sa&e o( natu$e, to be annually ,o$shipped and o--asionally
i'itated.
THE BIOGRAPHY AND THE MAN
Bash9s -ulti- position ,as b$oken, ho,e1e$, by @asaoka .hiki D18!J19%2E. >n the t,o
hund$edth anni1e$sa$y o( Bash9s death in 1893, he published a sho$t atta-k on Bash
idolat$y. 6'on& his i$$e1e$ent lines, ,e (ind:
"he t,o hund$ed yea$s -o''e'o$ation is the t,o hund$ed yea$s -o''e'o$ationHlast yea$
,as the one hund$ed and ninety ninth and ne0t yea$ ,ill be the t,o hund$ed and (i$stH,hat9s
di((e$ent about this one= 5ike all the othe$s the$e is this -la'o$ o(, oh, buildin& a sh$ine, and
,o,, settin& a 'e'o$ial stone. 6nd in the end the little bene(it ,hi-h (alls on these people is
2ust sho,in& thei$ $ed ton&ues ,hile (a-in& a po$t$ait in the al-o1e, s'ilin&ly e0tendin& thei$
&$atitude to @atsuo :ai'yshin Da shingo (o$ BashE, ,hile he obli1iously says nothin&.
13
.hiki9s atta-k 'ade possible a 'o$e -$iti-al app$aisal by 6kuta&a,a RyQnosuke ,ho, alon&
,ith his TAa$enoshU 'entioned abo1e, ,$ote t,o othe$ ,o$ks on Bash entitled TBash
IakkiU and TIoku Bash IakkiU DT7otes on BashU and T8ontinued 7otes on BashUE. *n the
(o$'e$, he ,$ote about Bash9s &$eat passion as a poet ,hi-h see'ed to -ont$adi-t his i'a&e
as a 'an ,ho $enoun-ed the 'undane ,o$ld, and -ontinued:
*( ,e 'ust -all su-h passion in a ,o$ld $enoun-in& 'an a -ont$adi-tion, then a -ont$adi-tion
it is. But e1en i( it is so, doesn9t this bea$ ,itness to Bash9s &enius= XVY * lo1e the
-ont$adi-tion o( Bash9s not t$uly be-o'in& a ,o$ld $enoun-e$. 6t the sa'e ti'e, * lo1e the
&$eatness o( that -ont$adi-tion.
1K
6(te$ t,o hund$ed yea$s o( -ulti- 'e'o$y o( the 'aste$, 6kuta&a,a ,as su&&estin& that
Bash, the 'an, li1ed in -ont$adi-tion ,ith the li(e ideal asso-iated ,ith hi' as 'aste$.
15

6lthou&h * disa&$ee ,ith 'any o( 6kuta&a,a9s obse$1ations, Bash9s li(e as sho,n th$ou&h
his poet$y does sho, su-h a -ont$adi-tion. @o$e i'po$tantly, the di((e$en-e bet,een the li(e
ideal $e'e'be$ed by the -ult and the histo$i-al li(e o( Bash -annot be as-$ibed solely to
enhan-e'ents ,ithin the -ulti- 'e'o$y. *nstead, this di((e$en-e, as ,e shall see, had its $oots
in Bash9s li(e. 6s 6kuta&a,a su&&ested, he li1ed the dispa$ity o( an ideal and a $eal li(e, a
dispa$ity ,hi-h a(te$ his death &$e, into that bet,een the -ulti- 'e'o$y and the histo$i-al
'an. @ost i$oni- o( all, his initial su--ess ,ith his ideal led to his ha1in& an To((i-ial
identityU
1!
as a poeti- 'aste$, and this To((i-ial identityU, 'o$e than anythin& else, p$e1ented
hi' ($o' li1in& out his ideal.
"he ideal, $eli&ious li(e ,hi-h the -ult $e'e'be$ed sp$an& ($o' Bash9s o,n 1isions and
attain'ents. 4hile he attained su-h a li(e, ho,e1e$, he -ould not sustain it, and his
a-hie1e'ent only se$1ed to -$eate the 'ode o( his o,n (ailu$e. But ,ith the T-ha$is'ati-
hun&e$ o( 'ankindU,
1J
his dis-iples, de1ou$ed his attain'ents, and (o$ the' and the t$adition
,hi-h (ollo,ed the', Bash ,as a 'aste$. *t ,as this 'aste$ o( a $eli&ious li(e ,ho' they
'ou$ned in 6kuta&a,a9s sket-h, and ,ho ,as $e'e'be$ed by t$adition, but it ,as the 'an
,ho (ailed to sustain that 1e$y li(e ,ho lay dyin&.
*n 4oung "an ,uther, ;$ik ;$ikson has ,$itten about a 'an ,hose solution (o$ the p$oble's
o( his o,n li(e be-a'e a solution (o$ those o( his a&e.
18
4ith Bash, ,e (ind a 'an ,hose
solution (o$ his o,n li(e be-a'e a 'odel (o$ a 'u-h s'alle$ althou&h de(inite t$adition, but
,hose o,n li(e di&$essed ($o' that solution, lea1in& hi' isolated ($o', and o--asionally e1en
bitte$ to,a$ds, the 1e$y li(e ideal ,hi-h he had de1eloped.
*n be-o'in& the 'aste$ o( an o$i&inal haiku $eli&ious li(e, Bash su--eeded in dis-o1e$in& a
,o$ld o( 'eanin& ($o' ,hi-h he late$ be-a'e isolated, but ($o' ,hi-h he -ould not es-ape in
li(e, death, o$ e1en a(te$ death. His late$ isolation ,as t$a&i-ally i$oni-, be-ause it ,as
p$e-isely to o1e$-o'e a sense o( isolation and loneliness that he had atte'pted a ne,
$eli&ious dis-o1e$y. *nstead, he (ound si'ply anothe$, 'o$e p$o(ound -onte0t ($o' ,hi-h to
be-o'e isolated on-e a&ain.
"his isolation ,as e0p$essed by Bash as loneliness, a loneliness ,hi-h passed th$ou&h
di((e$ent sta&es in his li(e. *n the (ollo,in& pa&es ,e ,ill be e0a'inin& these sta&es o(
Bash9s li(e by seein& his e((o$ts to o1e$-o'e loneliness and isolation and to en1elop hi'sel(,
th$ou&h poet$y, in a 'eanin&(ul, suppo$ti1e ,o$ld. 4e ,ill not (ind any -ata-lys'i-
en-ounte$ ,ith the t$ans-endent, no$ should ,e e0pe-t to. Bash unde$stood his possible
$eli&ious su--ess as p$o1idin& a (ul(illin& li(e by -$eatin& a pla-e (o$ hi' in a sy'patheti- and
i''anently sa-$ed uni1e$se. Reli&ious (ailu$e, -on1e$sely, ,as synony'ous ,ith isolation
($o' any su-h 'eanin&(ul -onte0t. 6s ,ill be dis-ussed belo,, this $eli&ious &oal ,as $ooted
in (o$-es ,hi-h shaped the 3apanese pe$sonality o( the "oku&a,a pe$iod.
4e ,ill e0a'ine Bash9s e((o$ts to -$eate his $ole in a 'eanin&(ul -onte0t in the th$ee
(ollo,in& steps. Bi$st, ,e ,ill look at his ea$ly li(e, be(o$e his poeti- ,ande$in&s. .e-ondly,
,e ,ill -onside$ the pe$iod ,hen Bash atte'pted to li1e the ,ande$in& $eli&ious ideal,
-ul'inatin& in his 'aste$pie-e, Oku no Hosomi1hi D'he Narro7 .oa* to the Deep NorthE.
"hi$dly, ,e ,ill look at his (ailu$e to sustain this ideal, his $etu$n to loneliness, and his
atte'pts to -$eate a ne, ideal, ,hi-h ,e$e -ut sho$t by his death.
"h$ou&hout this dis-ussion * $ely 'ainly on the e1iden-e p$o1ided by Bash9s haiku. Bash
,$ote only about one thousand o( these sho$t 1e$ses, plus 'any linked 1e$ses DrenkuE, sho$t
p$ose ,o$ks, and -$iti-al -o''enta$ies. *t 'ay appea$ that * a' 'akin& too 'u-h out o( these
sli1e$s o( poet$y, but, as ,ill be-o'e appa$ent belo,, Bash staked his li(e on the'. 4hile
p$o1idin& us only ,ith tidbits -on-e$nin& his ea$ly li(e D(o$ ,hi-h * ,ill ha1e to $ely on a
&ene$al kno,led&e o( the ti'esE, these poe's be-a'e his te-hni?ue (o$ $elatin& hi'sel( to a
'eanin&(ul ,o$ld. Hen-e they sho, his e((o$ts to o1e$-o'e isolation and to dis-o1e$ his t$ue
sel(.
19
BASH'S EARLY LIFE: THE CRISIS OF ISOLATION
Bash ,as bo$n a(te$ the basi- so-ial st$u-tu$es o( the "oku&a,a #e$iod D1!%%18!JE had
been laid do,n, and ,as a youn& 'an du$in& o$ sho$tly a(te$ the o$i&inal intelle-tual (e$'ent
$e&a$din& the 1alues ,hi-h ,e$e to do'inate the a&e.
2%
4hile little is kno,n about his ea$ly
li(e, e1e$ythin& ,e do kno, su&&ests that he be&an a typi-al, lo,e$$ankin& sa'u$ai
e0isten-e. "he ulti'ate sou$-e o( 'eanin& (o$ su-h an e0isten-e ,as sa-$ed de1otion to
pa$ents and lo$d be-ause o( a sense o( eno$'ous debt to ea-h. 4hile this is not the o--asion to
dis-uss "oku&a,a 1alues, ,e -an assu'e ,ith &ood $eason that pa$ti-ula$isti- and sa-$ed
so-ial duties shaped youn& Bash9s ,o$ld o( 'eanin&.
21
He ,as bo$n in 1!KK in the p$o1in-e
o( *&a, southeast o( Ayoto, the son o( a sa'u$ai ,ho ,as $edu-ed to (a$'in& in pea-eti'e.
22

*n due -ou$se, Bash ente$ed the se$1i-e o( "d Goshitada, a youn& 'e'be$ o( the 'ano$ial
household only t,o yea$s his senio$, and assu'ed the staun-h sa'u$ai na'e o( @atsuo
@une(usa.
Both @atsuo @une(usa and "d Goshitada en&a&ed in haiku -o'position as a kind o(
ele&ant pasti'e, but ,hat ,as late$ to be &enius ,as at this sta&e only -le1e$ness. *n this
pe$iod Bash ,as unde$ the in(luen-e o( the haiku s-hool -alled "ei'on, ,ith its ele&ant ,it,
double entend$e, and 2u0taposition o( -lassi-al the'es.
23
4hile not ,ithout 'o'ents o(
sensiti1ity,
2K
Bash -hose su-h sub2e-ts as ,o'en9s na'es, st$ikin& but o(ten ha-kneyed
beauties o( natu$e, so-ial o--asions, and ti'es o( the yea$.
"he -o'(o$table, and by all indi-ations satis(yin&, (ab$i- o( Bash9s ,o$ld ,as suddenly to$n
open by the p$e'atu$e death o( his ($iend and lo$d, Goshitada, in 1!!!. Goshitada9s youn&e$
b$othe$ took o1e$ the (a'ily and Bash $esi&ned ($o' se$1i-e, (o$sakin& (o$e1e$ his sa'u$ai
status. 6s only these ba$e (a-ts a$e kno,n, the$e has been no la-k o( spe-ulation about
int$i&ues ,hi-h -ould ha1e led to his $esi&nation. #$o(esso$ <eda9s su&&estion that he 2ust did
not (it into the -i$-le su$$oundin& his ne, lo$d is the least spe-ta-ula$ and the 'ost p$obable.
25
But ,e -an be -e$tain that, ,hethe$ as -ause o$ $esult, Bash9s lea1in& se$1i-e in1ol1ed a loss
o( that suppo$ti1e -onte0t o( so-ial $elationships &$ounded in 7eo8on(u-ian and t$aditional
3apanese 1alues, ,hi-h &a1e 'eanin& to the li(e o( a youn& sa'u$ai. *n lea1in& his position,
Bash bu$ned that b$id&e to (ul(ill'ent and be&an sea$-hin& (o$ a ne, ,o$ld o( 'eanin&,
thou&h he 'ay not yet ha1e been a,a$e o( the sea$-h.
:etails o( his li(e i''ediately a(te$ Goshitada9s death a$e un-lea$. 5i1in& -lose to Ayoto, it is
unthinkable that he ,ould not ha1e 1isited this -ultu$al -ente$, but ,e do not kno, i( he
studied o$ ,o$ked the$e.
2!
"he$e is no e1iden-e that he then thou&ht o( bein& a p$o(essional
poet, but a (e, o( his poe's ,e$e published in lo-al -olle-tions, and this undoubtedly &a1e
hi' ne, -on(iden-e.
2J
Binally, in 1!J2, he published his o,n book, ai Oi D'he $eashell
%ameE, in ,hi-h he pai$ed haiku, in-ludin& his o,n, and passed a se$ies o( 2ud&e'ents upon
the'. B$o' this ,e -an &uess that Bash9s depa$tu$e ($o' sa'u$ai se$1i-e led hi' to i'p$o1e
,hat ,as (o$'e$ly an a1o-ation. 5ate$ that yea$, he le(t *&a (o$ ;do ,ith so'e a'bition
,hi-h 'ust ha1e in-luded haiku.
"he -ity o( ;do to ,hi-h Bash 'i&$ated in 1!J2 ,as soon to $ea-h a population o( one
'illion.
28
6lon& ,ith >saka, it ,as the -apital o( a ne, kind o( -ity -ultu$e, one o(
sophisti-ation and &ay, but $e(ined pleasu$e. Bash ,as p$obably att$a-ted to ;do by a 1ision
o( oppo$tunity, sti'ulation and ad1entu$e. *nstead, he had to st$u&&le (o$ a (e, yea$s to
establish his $eputation, ,o$kin& pe$haps in so'e -le$i-al -apa-ity, and ,$itin& unde$ the
na'e o( "sei.
29
Ha1in& be-o'e a -ity 'an ,ith a'bition to be-o'e a p$o(essional poet, Bash p$o&$essed
$apidly in style. ",o stylisti- de1elop'ents ,e$e p$e$e?uisites (o$ the $eli&ious li(e o( haiku
he ,as late$ to adopt, althou&h at this ti'e they ,e$e st$i-tly lite$a$y -han&es. "he (i$st ,as an
e0pansion o( his sub2e-t 'atte$ to in-lude the -o''onpla-e and e1en lo,e$ sides o( li(e. "he
sti'ulus (o$ this de1elop'ent -a'e ($o' the :an$in s-hool, ,hi-h o(ten applied -lassi-al
allusions to 'undane o$ e1en ,ild -onte0ts.
3%
6 $athe$ e0t$e'e e0tension o( sub2e-t 'atte$
-an be (ound in the (ollo,in&:
Guku ku'o ya
*no no kakeba$i
@u$a shi&u$e
#assin& -loudsH
5ike a st$ay do& $elie1in& hi'sel(,
.-atte$ed sho,e$s.
DNB3,19E
"he se-ond and late$ stylisti- de1elop'ent ,as Bash9s si'ple$ poeti- &oal o( settin& an
i'a&e (o$ e'otional i'pa-t alone, an i'a&e ,hi-h ,ould &$o, into an enti$e s-ene planted in
the $eade$9s 'ind. 6s Bash be&an -on-ent$atin& 'o$e on e'otional i'pa-t, $athe$ than on
,it and double entend$e, the $an&e o( sensibility in his poe's e0panded &$eatly, o(ten into
sole'n o$ e1en ee$ie 'oods. "he 'ost (a'ous poe' o( this type, &ene$ally -onside$ed a
b$eakth$ou&h, is:
Aa$e eda ni
Aa$asu no to'a$i ke$i
6ki no ku$e
>n a ,ithe$ed b$an-h
6 -$o, settles+
6utu'n dusk.
DNB3, 38E
Besides sho,in& Bash9s ne, -apa-ity (o$ so'be$ 'oods, this poe' sets a s-ene ,hi-h
e0pands in the $eade$9s 'ind. *t also uses an i'po$tant te-hni-al de1i-e, the -o'pa$ison o( the
-$o, and the ni&ht settlin&. 5ate$, he ,ill use su-h inte$nal -o'pa$isons to &$eat e((e-t.
"o&ethe$ ,ith this ne, 'atu$ity o( style, Bash attained, by the end o( the 1!J%s, the
$e-o&nition and position he sou&ht in -o'in& to ;do. "he yea$ 1!8% see's to 'a$k his
e'e$&en-e as a p$o(essional tea-he$. *n that yea$ he published the (i$st -olle-tion o( his
dis-iples9 poe's. @o$e i'po$tantly, his dis-iples p$o1ided hi' ,ith a s'all hut ,hi-h had
(o$'e$ly belon&ed to the .ho&un9s (ish ,a$den. *n the &a$den by the hut, they planted a
banana t$ee, an e0oti- plant in 3apan, ,hi-h is -alled !ash/ in 3apanese. B$o' this, the hut9s
o--upant took his ne, and lastin& p$o(essional na'e.
31
By 1!8%, then, Bash had a ne, na'e and ne, status. He had 2oined the bustlin& ne, -ity
-ultu$e and had $isen to a -o'(o$table, $espe-table, and -$eati1e $ole ,ithin it. "he$e a$e a
nu'be$ o( poe's ,hi-h sho, his ease and -o'(o$t in this ne, position, in-ludin& the
(ollo,in&:
Ha$u tatsu ya
.hinnen (u$uki
Ao'e &osh
.p$in& -o'esH
6t the 7e, Gea$
Bi1e pe-ks o( $i-e le(t
D($o' the oldE.D32E
DNB3, KKE
4e (ind hi' also en2oyin& the $e(ined pleasu$es o( the -apital:
Hana ni yado$i
Hentanshi to
@iCuka$a iedo'o
5od&in& unde$ the blosso's,
6lthou&h * 'ust -all 'ysel(
T@$. BottleU.
DNB3, 3JE
6t this point it 'i&ht see' that Bash9s essential bio&$aphy is o1e$. He has a-hie1ed su--ess
and en2oy'ent and is (le0in& and de1elopin& his te-hni-al 'us-les. *n the 'idst o( this,
ho,e1e$, ,e (ind a de(inite opposin& st$ain o( loneliness, one ,hi-h 'ay ha1e be&un as
poeti- (ashion, but ,hi-h -$es-endoed into pain(ul isolation by 1!8K. *n 1!8%, Bash ,as
al$eady ,$itin& poe's ,hi-h ob2e-ti1ely set lonely s-enes at his hut, and by the (ollo,in&
yea$ he e0p$essed his sense o( loneliness sy'boli-ally:
Bash no ,aki shite
"a$ai ni a'e o
Aikuyo kana
"he banana plant in the &ale+
6 ni&ht listenin& to $ain
:$ip in a tub
DNB3, K8E
He also e0p$essed hi'sel( di$e-tly, ,$itin&:
*9' lonely to,a$ds the 'oon+ lonely to,a$ds 'ysel(+ lonely to,a$ds 'y la-k o( skill. * ,ant
to ans,e$ that *9' lonely, but the$e is no one ,ho ,ill ask. >nly in loneliness, lonelinessH
4abite su'e
"suki,abasai &a
7a$a-ha uta
5i1e in loneliness+
"he 'oonlonely one
4ith his &$uel son&.
DNB3, K8E
"he ,inte$ a(te$ he ,$ote that 1e$se, he ,$ote:
Ro no koe na'i o utte
Ha$a,ata k$u
Ga ya na'ida
"he sound o( oa$s st$ikin& the ,a1es,
@y bo,els -hill+
"ea$s in the ni&ht.
DNB3, K9E
His 1e$ses su&&est only t,o $easons ,hy he (elt this ,ay. "he (i$st is (ound in t,o 7e,
Gea$9s poe's in ,hi-h he -ont$asts his o,n solitude ,ith the (a'ily &aiety su$$oundin& hi':
Au$e ku$ete
@o-hi o koda'a no
4abine kana
"he yea$ ends, dusk settles,
"he e-ho o( $i-e -akes bein& poundedH
* &o to bed alone.
DNB3, 5%E
/an 2itsu ya
>'oeba sabishi
6ki no ku$e
7e, Gea$9sH
4hen * $e'e'be$, *9' lonely,
6s in an autu'n e1enin&.
DNB3, 58E
"he se-ond e0planation (o$ his loneliness lies in (ou$ poe's ,hi-h sho, his sense o( not
ha1in& a-hie1ed anythin&. "he (i$st is sy'boli- o( &$aspin& (o$ so'ethin& and &ettin& hu$t
instead. "he othe$s a$e 'o$e e0pli-it.
/u ni ku$aku
*ba$a o tsuka'u
Hota$u kana
Boolishly in the da$k,
/$abbin& a tho$nH
Bi$e(lyS
DNB3, K1E
Hototo&isu
*'a ,a haikaishi
7aki yo kana
8u-koo,
7o, is a ,o$ld
4ithout a haiku 'aste$.D33E
DNB3, 59E
"suki 2Qyokka
Aoyoi san2QkyQ
7o ,a$abe
"he 'oon o( the (ou$teenth day,
"his ni&ht, a thi$tynine yea$ old
8hild.D3KE
DNB3, 52E
6,a$e kiku ya
Aono 'i ,a 'oto no
Bu$u&ashi,a
Hea$in& hailH
* a' 2ust the sa'e as * ,as,
5ike that old oak.
DNB3, 58E
"his sense o( sepa$ation ($o' so-ial and (a'ily li(e, and the $ealiCation o( not ha1in& -han&ed
o$ a--o'plished anythin&, ,e$e $eally t,o sides o( the sa'e -$isis. <pon his ,ithd$a,al ($o'
sa'u$ai li(e, Bash had lost that suppo$ti1e, sa-$ed -onte0t o( so-ial $elations ,hi-h -ould
ha1e o((e$ed hi' a (ul(illin& li(e. He did not $esol1e this p$oble' di$e-tly, but pu$sued an
a'bitious -a$ee$ as a p$o(essional poet and tea-he$ in the only pla-e ,he$e this ,as possible,
the open, bustlin& -ity o( ;do. "his -a$ee$ and its deli&hts -onsu'ed his attention (o$ se1e$al
yea$s, but ,hen he $ea-hed a hi&h le1el o( su--ess, its allu$e had $un its -ou$se. >nly at this
point did he (a-e his basi- p$oble', that o( the loss o( a (ul(illin& so-ial ne0us. 6 sense o(
isolation, and hen-e (o$ a 3apanese o( his ti'es, a sense o( 'eanin&lessness in li(e, be&an to
haunt hi'. Bo$ this $eason, ,e (ind poe's not only about loneliness, but also about an
un-han&ed, un(ul(illed li(e. By this ti'e, ho,e1e$, Bash had &$eatly e0panded his poeti-
$an&e in both sub2e-t 'atte$ and e'otional -ontent. 4hen he (inally (a-ed the e0istential
p$oble' b$ou&ht on by that (unda'ental loss o( a 'eanin&(ul so-ial ne0us, he ,as ,ell
a$'ed.
",o a--idental e1ents (o$-ed his hand. "he (i$st ,as the bu$nin& o( his ho'e in 1!82. "hen,
2ust ,hen it ,as $ebuilt, he $e-ei1ed ne,s o( his 'othe$9s death in *&a Dhis (athe$ had died
,hen he ,as t,el1eE. He$ death 'ust ha1e deepened his loneliness e1en 'o$e, (o$ his e((o$ts
to dis-o1e$ a 'eanin&(ul -onte0t (o$ his li(e in that e1ent(ul yea$ o( 1!8K ,e$e -losely
ent,ined ,ith an unde$standin& o( his loss o( that p$i'a$y sa-$ed -onte0t o( "oku&a,a li(e,
the (a'ily. 4e ha1e al$eady seen hi' -all hi'sel( a -hild. *n one o( the (i$st passa&es in the
dia$y o( that yea$, he identi(ies hi'sel( ,ith an abandoned -hild. @ost i'po$tantly, his e((o$ts
to (ind (ul(ill'ent in a 'eanin&(ul -onte0t be&an on a t$ip ba-k to *&a, ostensibly to pay
ho'a&e to his 'othe$ and to 1isit his (a'ily.
35
*n the (all o( 1!8K, then, Bash be&an to pu$sue a ne, li(e, one ,hi-h he hoped ,ould
o1e$-o'e the loneliness that had settled upon hi'. 4e 'ust suspend ou$ na$$ati1e a bit to
look -losely at ,hat he ,as t$yin& to do.
THE HAIKU RELIGIOUS LIFE
Bi$st, ,e 'ust b$ie(ly e0a'ine the histo$i-al sou$-es o( Bash9s $eli&ious li(e style, that o(
$eli&ious pil&$i'a&e and the $e-luse t$adition, and look at the ne, $eli&ious unde$standin&s
and poeti- te-hni?ues ,hi-h Bash de1eloped ,ithin that li(e style.
4e -an bette$ unde$stand Bash9s t$a1ellin& li(e style by (indin& its sou$-es in the 3apanese
t$aditions o( pil&$i'a&e and o( $e-luses and ,ande$e$s. 3oseph @. Aita&a,a lists th$ee types
o( pil&$i'a&e in 3apan: D1E pil&$i'a&e to sa-$ed 'ountains+ D2E pil&$i'a&e to sh$ines o$
te'ples asso-iated ,ith -e$tain di1inities+ and D3E pil&$i'a&e based on (aith in -e$tain
-ha$is'ati- holy 'en.
3!
"he se-ond type does not -on-e$n ou$ dis-ussion o( Bash as 'u-h as
the (i$st and thi$d. "he (i$st type ,as &ene$ally, but not ne-essa$ily, a &$oup a-ti1ity unde$ the
supe$1ision o( a &uide and in1ol1ed the a-?uisition o( pe$sonal sote$iolo&i-al po,e$. 8e$tain
pla-es su-h as Au'ano and Goshino, (u$the$'o$e, ,e$e said to be a (o$etaste o( 6'ida9s #u$e
5and. "his (a-to$, says Aita&a,a, T&i1es st$on& i'petus to pil&$i's to seek the $eli&ious
'eanin& o( li(e ,ithin the $eal' o( pheno'enal e0isten-eU.
3J
"he thi$d type $elied on the
sa1in& po,e$ ,hi-h had been a-tualiCed in a $eal hu'an bein&. .u-h a holy pe$son Tsha$es
e1e$y step o( the ea$thly pil&$i'U.
38
B$o' this, ,e -an obse$1e that pil&$i'a&e in 3apan led to
dis-o1e$y o( the sa-$ed in the pheno'enal ,o$ld o( natu$e, t$aditionladen 'ountains o$ othe$
sites, o$ in the i'itation o( the li(e o( an histo$i-al indi1idual. 4e note the i''anent
a--essibility o( the sa-$ed as it is indistin&uishable ($o' the (ab$i- o( a positi1e, (ul(illin&
,o$ld, espe-ially as it -a$$ies the 'a$k o( a po,e$(ul t$adition.
4e 'i&ht also note t,o (u$the$ aspe-ts o( 3apanese pil&$i'a&e. Bi$st, it ,as not ne-essa$y that
e1e$ythin& -onne-ted ,ith a pil&$i'a&e be $eli&ious. 6 pil&$i'a&e o(ten in1ol1ed seein&
$elati1es, si'ple si&htseein&, sa'plin& (a'ous (oods, and so on.
39
.e-ondly, it ,as a p$a-ti-e
,ell suited to $eli&ious syn-$etis', (o$ one t$a1elled ($o' sh$ine to te'ple to (a'ous
land'a$k, pa$takin& o( a 1e$itable supe$'a$ket o( deities and t$aditions.
"he e1iden-e that Bash did, indeed, -o'bine this p$e1alent 'ode o( $eli&ious pil&$i'a&e
,ith his poeti- li(e is st$on&. Rathe$ than t$a1ellin& $ando'ly, Bash 1isited 'any pla-es
behind ,hi-h stood lon&, 'ost o(ten lite$a$y, t$aditions. #e$haps the -lea$est e0a'ple o( the
i'po$tan-e o( t$adition in su-h pla-es is (ound in $arashina ik/ D1!88E, in ,hi-h Bash says
that he ,as so'e,hat disappointed ,ith the 'ountain itsel(, but ,hen he thou&ht o( the old
-$one abandoned the$e a--o$din& to a lon& lite$a$y t$adition, he ,as (illed ,ith e'otion.
K%
His
t$ips to these pla-es o(ten took on a style o( pil&$i'a&e, a pil&$i'a&e to 1isit a pla-e o(
t$aditional po,e$ and to ,alk ,he$e poets o( the past ,alked and to see ,hat they sa,. ",o
t$a1el dia$ies in pa$ti-ula$ $e-o$d su-h pil&$i'a&es. $arashina ik/ ,as 'entioned abo1e.
ashima ik/ D1!8JE $e-o$ds a pil&$i'a&e to a .hinto sh$ine, -ha$a-te$isti-ally unde$taken to
see the 'oon (a'ous in lite$atu$e. Bash 1isited the popula$ pil&$i'a&e sites as ,ell.
#a$ti-ula$ly inte$estin& to a student o( $eli&ion is his a--ount o( his t$ip to @ount Ha&u$o, a
-ente$ (o$ a se-t o( 'ountain p$iests -alled $hugen*/ ,hi-h is still a popula$ pil&$i'a&e site.
K1
Bash e1en d$essed as a pil&$i', sha1in& his head, -a$$yin& a sta((, and ,ea$in& si'ple,
'onkish $obes.
K2
6 se-ond histo$i-al sou$-e o( Bash9s style o( li(e, ,hi-h 'e$&es ,ith Aita&a,a9s thi$d type o(
pil&$i'a&e, is $ep$esented by the poeti- $e-luses and ,ande$in& p$iests o( the past ,ho'
Bash ad'i$ed. *n Oku no Hosomi1hi, (o$ e0a'ple, he $e(e$s to .ai&y, a t,el(th -entu$y
7aka poet, to /y&i, an a$-hetypi-al ,ande$in& p$iest ($o' the 7a$a #e$iod, and to othe$ su-h
(i&u$es. *nstead o( (ollo,in& in thei$ (ootsteps o1e$ pa$ti-ula$ pil&$i'a&e t$ails, he identi(ied
,ith thei$ ,ande$in& and $e-lusi1e li(e in &ene$al, but he did e'phasiCe pla-es asso-iated ,ith
the', su-h as .ai&y9s ,illo,.
K3
4hile bo$$o,in& i'po$tant -o'ponents o( his li(e style ($o'
these 'odels, Bash used a 'u-h ,ide$ $an&e o( sub2e-t 'atte$, de$i1ed ($o' his :an$in
he$ita&e, than these ea$lie$ poets kne,. "his ne, ($eedo' o( $an&e ,as not in-idental to
Bash9s $eli&ious li(e, as ,e shall see.
*n su''a$iCin& Bash9s li(e style in $elation to these histo$i-al p$e-edent o( pil&$i'a&e and
the $e-luse o$ ,ande$in& li(e, ,e -an say that he -o'bined the t,o, e0tendin& both 'oti(s into
,ide$ and 'o$e in-lusi1e a$eas. Rathe$ than 'e$ely (ollo,in& $outes p$es-$ibed by a t$adition
Dalthou&h he did so on o--asionsE, Bash also t$a1elled to othe$ pla-es o( lite$a$y and
histo$i-al i'po$tan-e. ;1entually, he t$eated 1i$tually e1e$ythin& as pa$takin& o( an i''anent
sa-$ality -on(e$$ed by the past, o(ten seekin& an an-ient t$adition o$ -lassi-al allusion in the
-o''onest thin&s. 4hile not ne&le-tin& se1e$al t$aditionladen paths, then, Bash be-a'e a
pil&$i' in an enti$e ,o$ld o( i''anent sa-$ality. He (ound hi'sel( in a sa-$ed -onte0t
,he$e1e$ he ,ent, thus pushin& the ,ande$in& li(e into ne, a$eas o( the -ount$y and ne,
sub2e-ts o( -on-e$n.
Bash9s poet$y, in both its te-hni?ue and &oals, ,as ,ell suited to the -ontent o( this e0panded
pil&$i'9s li(e. *n e1e$y step o( his t$a1els, Bash atte'pted to (ind so'e o1e$$idin& aestheti-
'eanin& in the 'o'ent and pla-e o( ,hi-h he ,as a pa$t. "his aestheti- pe$-eption ,as
in(o$'ed by a sensibility (o$ the su' o( the 'any dispa$ate ele'ents in ea-h o( su-h pla-es
and 'o'ents. .u-h a sensibility a((e-ted his poeti- te-hni?ue, leadin& hi' to use 'ethods (o$
&ettin& these dispa$ate ele'ents into his poe's. >(ten this took the (o$' o( b$in&in& to&ethe$
di((e$ent senses, o$ in so'e -ases, as-$ibin& the ad2e-ti1e app$op$iate (o$ one sense to anothe$.
6 he$on9s s-$ee-h, (o$ e0a'ple, is ,hite abo1e the da$k sea. 6 'o$e te-hni-al de1i-e,
-o''on to haiku &ene$ally, is the use o( kire&i, o$ T-uttin& ,o$dsU. "hese a$e sho$t,
se'anti-ally 'eanin&less syllables ,hi-h -ut o(( one line ($o' the othe$ t,o, the$eby
b$in&in& to&ethe$, ,ithout any p$edi-ated e0planation, t,o ele'ents o( a &i1en 'o'ent o$
pla-e.
>ne ele'ent ,hi-h 'ust al,ays be p$esent in a haiku is the kigo, o$ Tseason ,o$dU. "his ,ill
be a $e(e$en-e to a natu$al pheno'enon o$ an ad2e-ti1e like T-oldU, ,hi-h pla-es the haiku in
so'e season. "he kigo see's to be the -lea$est 'ani(estation o( the haiku postulate that ti'e,
$athe$ than bein& ho'o&enous, -onsists o( di((e$ent 'o'ents, ea-h ,ith its o,n pa$ti-ula$
aestheti- -ontent.
*t is the task o( the poet to pe$-ei1e this -ontent and &i1e it e0p$ession and (o$'. *( he is
honest in this task, he ,ill be ,illin& to use 1i$tually anythin& as a sub2e-t, a -ha$a-te$isti-
,hi-h sets haiku, and Bash9s in pa$ti-ula$, apa$t ($o' othe$ 3apanese poet$y. Bash b$in&s
e1en ho$se u$ine and li-e into his poe's. Bu$the$'o$e, su-h a sensibility to the su' o(
pa$ti-ula$ 'o'ents ne-essitates a -e$tain a'bi&uity, ,hi-h Bash -alled shiori, o$
T(le0ibilityU. *t is o(ten di((i-ult to de(ine the ob2e-t o( the aestheti- e'otion &ene$ated by a
haiku o( Bash, e1en a haiku o( one i'a&e. 4e 'i&ht e1en say that his i'a&es a$e
t$anspa$ent, $athe$ than opa?ue, and that th$ou&h the' ,e $e-ei1e a satis(yin& aestheti- sense
o( all that su$$ounds and stands behind the haiku.
4ith this unde$standin& o( his poet$y, ,e -an see ,hy it ,as -oupled ,ith the dia$y (o$'. "he
dia$y st$u-tu$e pe$'itted Bash to tu$n his 2ou$neys into a se$ies o( $hyth's and
$e1e$be$ations o( these aestheti- senti'ents. *n his late$ dia$ies, he a-hie1ed a balan-ed
inte$a-tion bet,een the p$ose and the poet$y, su-h that the p$ose set the ele'ents o( a s-ene o$
'o'ent, the -ent$al aestheti- sense o( ,hi-h ,as illu'inated by the (lash o( a haiku.
.in-e su-h an a'bi&uous aestheti- sense o( the 'o'ent in-luded the poet as pa$t o( that
'o'ent, ,e -an unde$stand ho, poet$y -ould $elie1e Bash9s isolation. 8ent$al to this $elie(
,as the dissolution o( his o,n e'otions into these i'pe$sonal aestheti- senses o( the ,o$ld
a$ound hi'.
KK
6 st$ikin& e0a'ple is his poe' at the &$a1e o( a belo1ed dis-iple:
"suka 'o u&oke
4a&a naku koe ,a
6ki no kaCe
.hake, o to'b,
@y -$yin& 1oi-e
*s the autu'n ,ind.
DNB3, 191E
He$e ,e -an see his &$ie( be-o'in& pa$t o( the total 'o'ent o( a -hilly autu'n day. @o$e
typi-al, ho,e1e$, a$e the haiku in ,hi-h the poet is not di$e-tly 'entioned. 4ith these, one is
st$u-k by Bash9s un-anny ability to ,$ite an ob2e-ti1e poe' in ,hi-h his p$esen-e is still
st$on&ly sensed. "his ability to ente$ into the thin&s a$ound hi' he -alled hosomi, o$
Tslende$nessU.
K5
B$o' all o( this, ,e -an see ho, Bash ,as st$i1in& to use his poet$y to &o
beyond his pe$sonal e'otions o$ e1en poeti- senti'ents. He t$ied to dis-o1e$ th$ou&h his
poeti- -$eati1ity an i'pe$sonal 'eanin& in ea-h pla-e and 'o'ent o( his t$a1els.
K!
"his tunin& o( hi'sel( to aestheti- senses o( pa$ti-ula$ ti'es and pla-es -ould ha1e been a
po,e$(ul antidote (o$ the an&uished isolation Bash ,as (eelin& by the 'iddle o( 1!8K. * a'
not su&&estin& that he si'ply t$ied to -$eate a 'o-k (a'ily o$ a -lose so-ial ne0us by this ne,
use o( haiku. * a' su&&estin&, ho,e1e$, that Bash, ($o' the ti'e he le(t *&a, had a latent
thi$st (o$ a sense o( belon&in&, o( (ul(illin& pa$ti-ipation in an i''anently sa-$ed -onte0t, and
that this desi$e had $oots in the ea$ly shapin& o( his pe$sonality. Be-ause o( its -ontinuity in
his pe$sonality, this thi$st $e'ained e1en ,hen he -ould i&no$e it du$in& his ea$ly poeti-
-a$ee$, and -ould e1entually be satis(ied by a sou$-e di((e$ent ($o' that ,hi-h had o$i&inally
shaped it. *n &ene$al, Bash9s -ase -on(i$'s a su&&estion by 6lbe$t 8$ai& that one
inte$p$etation o( the 3apanese lo1e o( natu$e T,ould be to see the 3apanese ability to 'elt into
natu$e as akin to the ability to 'elt into the so-ial &$oup. "he openness and sensiti1ity to
subtle -ues in the &$oup 'ood that the &$oup 'e'be$ -an 'iss only at his pe$il 'ay be si'ila$
to the $e-epti1ity to,a$d natu$e and the ,illin&ness to let it (lo, in on the sel(.U
KJ
>ne (u$the$ point about this haiku $eli&ious li(e should be 'ade be(o$e ,e $etu$n to ou$
na$$ati1e. *t 'ay see' that this li(e dissol1es the sel(, 'akin& it dependent upon the
1i-issitudes o( the en1i$on'ent ,ithout its o,n indi1idual -ontinuity. 4e 'iss that sense o( a
pe$son dis-o1e$in& his identity and T'akin& the en1i$on'ent adapt to hi'U.
K8
>u$ ob2e-tions
'i&ht 1e$y ,ell be -ultu$e bound, ho,e1e$, (o$ ,e ha1e no ba-k&$ound in the e0t$ao$dina$y
-lai's 'ade upon 3apanese indi1iduals by thei$ so-ial situation, -lai's ,hi-h tend to p$odu-e
a di((e$ent type o( sel(, o$ Tnonsel(U.
K9
"his -ultu$al di((e$en-e leads to 2ud&'ents upon the
4est as ,ell, as in the $e'a$k by @ishi'a Gukio that T6'e$i-ans so'eti'es tend to o1e$
e0ist. V "he 3apanese, nu$tu$ed as they a$e on Buddhis', ha1e the -u$ious -on1i-tion that
e0isten-e is a t$ansito$y and basi-ally unessential pheno'enon, a shi(tin& p$o-ess ,hi-h
-han&es ,ith ea-h 'o'ent, a $elati1e state as opposed to nothin&ness.U
5%
4hethe$ this is
enti$ely a Buddhist le&a-y is debatable, but it should $est$ain us ($o' lookin& (o$ a st$on&,
-ontinuous e&o, sta'pin& its i'p$ession on the ,o$ld.
THE WANDERING POET
Bash pu$sued the t$a1ellin& li(e o( haiku ($o' the (all o( 1!8K th$ou&h 1!92, a pe$iod o( o1e$
ei&ht yea$s. :u$in& that ti'e, he p$odu-ed (i1e 'a2o$ t$a1el dia$ies.
51
4hile ,e -annot &o into
the details o( e1en one o( these ,o$ks, * ,ould like to outline b$ie(ly his de1elop'ent ,ithin
this ne, li(e by lookin& at the (i$st and the last, Nozarashi ik/ and his 'aste$pie-e, Oku no
Hosomi1hi(
*n 1!8K, Bash took his (i$st t$ip (o$ st$i-tly poeti- pu$poses to his ho'e in *&a and to so'e
(a'ous a$eas in that pa$t o( 3apan. "he $e-o$ds o( this t$ip be-a'e Nozarashi ik/ D.e1or*s
of a )eather 6:pose* $keletonE. "his t$ip and its dia$y $ep$esent only the (i$st, alte$nately
hasty and haltin&, steps in Bash9s ne, li(e o( t$a1el. *n the be&innin&, he 2u'ped too 'u-h
into the pa$t, st$ikin& a pose $athe$ than (indin& an identity:
7oCa$ashi o
Aoko$i ni kaCe no
.hi'u'i kana
6 ,eathe$e0posed skeleton
>n 'y 'ind, the ,ind
#ie$-in& 'y body.
DNB', 3!E
*n a late$ pa$t o( the dia$y, Bash, pe$haps (eelin& a bit (oolish (o$ o1e$doin& it, ,$ote:
<pon settin& out ($o' the @usashi #lain, * had $esol1ed to be-o'e a T,eathe$ e0posed
skeletonU.
.hini'o senu
"abine no hate yo
6ki no ku$e
* a' ha$dly dead
6s a $esult o( 'y lod&in& by the $oad+
6utu'n9s -lose.
DNB', K%E
:espite su-h initial postu$in&, Bash ,as able to e0pe$ien-e and e0p$ess 1i$tually all the
ne-essa$y -o'ponents o( his ne, -allin&. *n the (i$st se-tion o( the dia$y, he senses a
sepa$ation ($o' his un(ul(illin& ;do li(e, but only by a $etu$n to ,hat -an no lon&e$ be a $eal
ho'e. "his loss o( his old ho'e is e0p$essed in a b$ie( but po,e$(ul se-tion in ,hi-h he -$ies
o1e$ st$ands o( his 'othe$9s ,hite hai$. @ost o( the dia$y, ho,e1e$, sho,s hi' be&innin& to
,o$k out that ne, style o( li(e ,hi-h ,ould $epla-e both his old ho'e and ;do. >ne o( the
(i$st poe's -on-e$ns .ai&y, and a substantial se-tion o( the dia$y -ente$s on the pil&$i'a&e
-ente$ o( Goshino, a 'ountain upon ,hi-h .ai&y had on-e li1ed. "o,a$ds the end o( the
dia$y, the$e a$e a nu'be$ o( poe's ,hi-h sho, Bash9s -o'(o$t in his ne, t$a1ellin& li(e:
*Ca to'o no
Ho&u'i ku$a,au
Ausa 'aku$a
5et9s &o to&ethe$
;atin& ,heat
4ith &$ass (o$ ou$ pillo,s.
DNB', K3E
*n all, Bash took &$eat st$ides in Nozarashi ik/ but he still had (a$ to &o. "e-hni-ally, his
dia$y st$u-tu$e b$oke do,n -o'pletely, the p$ose se$1in& only to na'e the pla-e o( ea-h
poe'. His o--asional dependen-e on, $athe$ than use o(, -lassi-al allusions &i1es a -ont$i1ed
(la1o$ to so'e poe's, and the$e a$e too 'any 1e$ses -onne-ted ,ith the sto-k situations o(
pa$tin& and on people9s na'es. .till, Bash ob1iously in-$eased his ability (o$ spontaneous
and i'a&inati1e obse$1ation, so i'po$tant (o$ his su--ess as a ,ande$in& poet:
6kebono ya
.hi$auo shi$oki
Aoto issun
:a,nH
"he ,hite(ish+ ,hiteness
>( one in-h.
DNB', K1E
"hese 'i0ed lite$a$y a-hie1e'ents $e(le-t the pa$tiality o( Bash9s (i$st atte'pt as a
,ande$in& poet. By $elyin& on his 'e$e -le1e$ness o( (o$'e$ ti'es, he de'onst$ated that he
had not yet $ea-hed the point o( usin& haiku to -o'pletely in(o$' his li(e o( the i'pe$sonal
'eanin& o( ea-h ti'e and pla-e. .till, he had tu$ned his ba-k on his un(ul(illin& li(e in ;do,
-on(i$'ed the loss o( his old ho'e, ,o$ked out the basi- -o'ponents o( his ne, li(e styleH
those bo$$o,ed ($o' pil&$i'a&e and the t$adition o( ,ande$e$sHand he had (ound a ne,
identity into ,hi-h he -ould &$o,.
52
5ate$, he ,as to ,$ite:
"abibito to
4a&a no yoba$en
Hatsu shi&u$e
T"$a1ele$U
* ,ill be -alled,
Bi$st autu'n sho,e$.
DNB', 52E
*n o$de$ to sho, his &$o,th, ,e ,ill skip o1e$ a &$eat deal o( ti'e to 1!89. "his ,as the yea$
o( his lon&est 2ou$ney, in ,hi-h he p$odu-ed his 'aste$pie-e, Oku no Hosomi1hi D'he
Narro7 .oa* to the Deep NorthE. Be&innin& in the sp$in&, he ,ent o1e$ (i(teen hund$ed 'iles
thou&h the 'ost $usti-, ,ild and o--asionally dan&e$ous pa$t o( old 3apan, the no$th,est
se-tion o( HonshQ. 6lthou&h only si0 'onths ,e$e in-luded in the dia$y itsel(, he ,as a,ay
($o' ;do (o$ t,o and a hal( yea$s, this ti'e ,ith no destination, unless ,e -an say that the
,hole t$ip ,as a destination. 6bo1e all, Oku no Hosomi1hi $e1eals a 'an ,ho is Ta,a$e o( so
'u-hHhis 'e'o$y and i'a&ination s,ell ,ith asso-iations o( the pastHand his $apid
'o1e'ents o( 'ind and hea$t ($o' the hi&h o$ subli'e to the lo, $e1eal a 1e$y ,ideeyed,
kno,in& 'anU.
53
4e a$e -on1in-ed that he has attained (inal $elease ($o' isolation and
$e-ei1es sustenan-e ($o' the i'pe$sonal pulse o( the ,o$ld. His identi(i-ation o( his depa$tu$e
($o' ($iends ,ith the i'pe$sonal (lo, o( a depa$tin& sp$in& -an be seen in the (ollo,in&
passa&e. By the last line o( the haiku, Bash i'a&es the i'pe$sonal natu$e o( his e'otions as
tea$s ,ithin the sea:
6t .en2Q, * &ot o(( the boat, and 'y hea$t s,elled all the 'o$e at the thou&ht o( be&innin& so
lon& a 2ou$ney. 6t this d$ea'like sepa$ation o( paths, 'y eyes (illed ,ith tea$s o( pa$tin&H
Guku ha$u ya
"o$i naki uo no
@e ,a na'ida
.p$in& depa$tsH
Bi$ds -$y+ (ishes9 eyes
Bill ,ith tea$s.
DNB', J%J1E
4hen he pe$(e-tly (lo,ed ,ith su-h i'pe$sonal sensibilities he 'ade loneliness the 'ost
i'po$tant o( these sensibilities, $athe$ than $e2e-tin& it. His te$' (o$ this i'pe$sonal loneliness
,as sa!i, a te$' ,ith its o,n lon& histo$y in 3apanese -$iti-is', ,hi-h de$i1ed ($o' the ,o$d
sa!ishii, o$ TlonelyU.
5K
$a!i -annot be e?uated, ho,e1e$, ,ith the loneliness Bash (elt in ;do
in the ea$ly 1!8%s. His loneliness at that ti'e had been the loneliness o( an isolated 'an.
$a!i, ho,e1e$, is the i'pe$sonal, aestheti- sense o( loneliness he share* ,ith the e1e$
-han&in& ,o$ld o( natu$e ,ithin ,hi-h he t$a1elled. $a!i, then, e0p$essed the see'in&
pa$ado0 o( an aestheti- sense o( loneliness dis-o1e$ed in the uni1e$se, ,ithin ,hi-h Bash
-ould (ind $e(u&e ($o' the 1e$y di((e$ent loneliness o( isolation.
Bash ,as at the su''it o( his po,e$s on this t$ip, and he -o'posed 1e$ses ,hi-h ,ould
stand as so'e o( the 'ost po,e$(ul haiku e1e$ ,$itten:
.hiCukasa yaD55E
*,a ni shi'i$u
.e'i no koe
.ilen-eH
#enet$atin& the $o-ks
6 -i-ada9s -$y.
DNB', 8JE
6$au'i ya
.ado no yokotau
6'ano&a,a
Niolent seaH
.t$et-hin& to,a$ds .ado *sland
"he @ilky 4ay
DNB', 91E
His blendin& o( p$ose and poet$y into the pulsatin& s,eep o( Oku no Hosomi1hi $esulted in
pe$haps the &$eatest o( su-h t$a1el dia$ies. *n his li(e o( -onstant t$a1el, pa$ti-ipatin& in e1e$
-han&in& ti'e and the ete$nity o( -o''on li(e and natu$e, all en1eloped ,ithin an au$a o(
i'pe$sonal sa!i, Bash had o1e$-o'e his isolation by ,$appin& hi'sel( in a ,o$ld o(
'eanin& so 1ast that only a pe$son o( his lite$a$y &enius -ould ha1e attained o$ e1en $ea-hed
(o$ it. :$i1en as he ,as to usin& his e0t$ao$dina$y po,e$s to thei$ ut'ost, his Oku no
Hosomi1hi be-a'e 'o$e than a pe$sonal do-u'ent+ it be-a'e a lite$a$y e1ent ,hi-h has e1e$
sin-e been $e&a$ded as one o( the pinna-les o( 3apanese lite$a$y histo$y. 6t the sa'e ti'e, it
$e-o$ded the attain'ent o( a $eli&ious ideal o( ,ande$in& -o''union ,ith natu$e. #$e-isely
be-ause it ,as $e-o$ded in Oku no Hosomi1hi and othe$ ,o$ks o( 1!8K and a(te$, this ,as an
ideal ,hi-h ,ould su$1i1e Bash a(te$ death, abso$bin& his na'e and 'e'o$y.
THE ULTIMATE LONELINESS: THE DISPARITY OF MASTER AND MAN
6(te$ -o'pletin& his Oku no Hosomi1hi t$ip, Bash spent 1!9% and 1!91 a$ound Ayoto and
*&a. :u$in& this ti'e, he -ontinued to ,$ite a &$eat deal, still do'inated by his sense o( sa!i(
*n the su''e$ 'onths o( those t,o yea$s he spent -onside$able ti'e in solita$y huts, (i$st by
5ake Bi,a and then o1e$lookin& Ayoto. "his last stay ,as pa$ti-ula$ly note,o$thy as he
p$odu-ed, not a $e-o$d o( a t$ip, but a no$'al dia$y, the $aga Nikki D$aga DiaryE. 6lso in
1!91, he and his dis-iples -o'piled the -olle-tion kno,n as $arumino D'he "onkey;s
.ain1oatE, ,hi-h ,as p$e(a-ed by an apolo&y (o$ bein& too -olo$(ul in p$e1ious ,o$ks and
o((e$ed an appeal (o$ sa!i( 6ll o( this indi-ates that Bash ,as satis(ied in his pe$(e-tion o(
both his li(e and poet$y ,ithin the ideal o( sa!i (o$ so'e ti'e a(te$ the Oku no Hosomi1hi t$ip.
*n 1!92, he $etu$ned to the ;do he had le(t in 1!89. >n-e a&ain, he ,as set up in a hut ,ith
banana plants and see's to ha1e been -o'(o$table the$e, ,$itin& at the end o( a lon& p$ose
pie-e:
Bashba o
Hashi$a ni kake'u
*o no tsuki
Banana lea1es
Hun& by the pilla$,
"he 'oon at 'y hut.
DNB3, 2!8E
"his -o'pla-en-y did not last, ho,e1e$. "h$ou&h his a-hie1e'ents in poeti- ,ande$in&,
-ul'inatin& in Oku no Hosomi1hi, Bash had be-o'e (a'ous and ,as s,a'ped ,ith 1isito$s.
*n a lette$ at the end o( 1!92, Bash told a potential -alle$ that he ,as busy on the ele1enth,
t,el(th, (ou$teenth, (i(teenth and si0teenth, and asked i( he -ould -o'e on the thi$teenth o$ the
ei&hteenth.
5!
*n addition, he be&an -a$in& (o$ an in1alid nephe, na'ed GQshi, ,ho died in the
sp$in& o( 1!93,
5J
as ,ell as a nun na'ed 3utei and he$ -hild$en. .he 'ay ha1e been Bash9s
'ist$ess in his youth.
Bash9s (a'e and su--ess ,e$e entan&lin& hi' in so-ial and (a'ilial $elations ,hi-h ,e$e
totally in-o'patible ,ith his ,ande$in&, sa!i li(e. @ost dist$a-tin& o( all, pe$haps, ,e$e the
-onstant 'eetin&s (o$ -o'position at his hut o( dis-iples ,ho -a'e ($o' all o1e$ the
-ount$y.
58
6lon& ,ith these in-$easin& entan&le'ents ,e (ind a &$o,in& sullenness -$eepin&
into Bash9s poe's:
.a'ida$e ya
Aaiko ,aCu$au
Au,a no hata
8onstant $ainH
"he silk,o$'s a$e si-k
*n the 'ulbe$$y (ields.
DNB3, !!E
Bash had -o'e (ull -i$-le. He had o$i&inally -o'e to &$ips ,ith the p$oble' o( isolation ,ith
nothin& sho$t o( a 'assi1e a-hie1e'ent o( ,ande$in& -o''union ,ith natu$e, an
a-hie1e'ent so &$eat that he (ound the $ole o( a sou&hta(te$ spi$itual and haiku leade$ th$ust
upon hi'. 6s this $ole $ipped open a&ain the i''anently sa-$ed (ab$i- in ,hi-h he had
-lothed hi'sel(, Bash9s sa!i(illed ,o$ld be-a'e si'ply anothe$, 'o$e p$o(ound -onte0t
($o' ,hi-h he su((e$ed lon&in& isolation.
His (i$st $esponse ,as to $ebel a&ainst his To((i-ial identityU by si'ply lo-kin& out the ,o$ld
($o' 'id3uly to 'id6u&ust o( 1!93. He e0p$essed his (eelin&s at this ti'e in a $elati1ely
lon& hai!un, o$ p$ose pie-e endin& ,ith a haiku.
59
*n it, he sho,s he is slippin& into
i'pendin& old a&e, but ,ith nu'e$ous senseless thin&s still pullin& at his 'ind and hea$t.
4ith an o1e$all tone o( despe$ation, he des-$ibes ho, e1en an a$tist -an -lin& to the pe$(e-tion
o( his a$t, ea$n a li1in&, and d$o,n ,ithout es-ape in the se,e$ o( the 'undane ,o$ld. 6s ti'e
be-o'es sho$t, he (eels he is bein& d$a,n into useless talk and 'eddlin& in othe$ people9s
li1es. He ,ants to dis-ipline hi'sel( and ,$ites:
6sa&ao ya
Hi$u ,a 2 o$osu
@on no kaki
@o$nin& &lo$yH
6t 'idday a lo-k is -la'ped
>n the &ate o( 'y ya$d.
DNB', 2%9E
6t (i$st he thou&ht that 'e$ely -uttin& hi'sel( o(( ($o' people ,ould pe$'it hi' to app$e-iate
the 'o$nin& &lo$y and (ind the inti'a-y ,ith natu$e ,hi-h he had (ound in Oku no
Hosomi1hi( ;1entually, ho,e1e$, he 'ust ha1e dis-o1e$ed that en(o$-ed se-lusion ,as not
su((i-ient to $etu$n hi' to his ea$lie$, sa!i(illed ,o$ld, but only led to -on(ine'ent and
(u$the$ isolation. He ended his lo-kout ,ith the (ollo,in& poe', in-$edible (o$ the (a'ed
Tnatu$e poetU:
6sa&ao ya
Ao$e 'o 'ata ,a&a
"o'o na$aCu
"he 'o$nin& &lo$yH
"his, too, is no lon&e$
@y ($iend.
DNB3, 28!E
8au&ht bet,een his ne, To((i-ial identityU as a haiku 'aste$ and his inability to $etu$n to his
ea$lie$ li(e o( sa!i p$e-isely be-ause he had a-hie1ed so 'u-h, Bash be-a'e se1e$ely
e'bitte$ed. 4e (ind the sa'e sense o( ha1in& a--o'plished nothin& ,hi-h had &$ipped hi'
in the ea$ly 1!8%s in the (ollo,in& poe':
"oshi toshi ya
.a$u ni kiseta$u
.a$u no 'en
Gea$s and yea$sH
"he 'onkey keeps ,ea$in&
6 'onkey9s 'ask.
DNB3, 2J!E
"he$e ,as nothin& to do but t$y a&ain. :e1elopin& his li(e o( sa!i had taken ei&ht yea$s. "his
ti'e he had only a (e, 'onths to li1e, and so ,e ha1e only the be&innin& th$eads o( the ne,
-onte0t in ,hi-h he ,as t$yin& to ,$ap hi'sel(. *nstead o( sa!i, the aestheti- te$' he
e'phasiCed ,as karumi, o$ Tli&htnessU.
!%
"his $e(e$$ed to a sy'patheti- and o(ten hu'o$ous
$e(le-tion o( the li1es o( -o''on people and e1e$yday so-ial li(e. B$o' this ,e -an suspe-t
Bash ,as takin& the attitude that, i( he -ould not es-ape his To((i-ial identityU o( haiku
'aste$, he ,ould tu$n his poeti- po,e$s to that ne,, so-ial li(e. "h$ou&h haiku, he ,ould t$y
to (ind a'on& the hu'an bein&s ,ho su$$ounded hi' a ne, sa-$ed -onte0t o( sy'patheti-
-o''union in ,hi-h to en1elop hi'sel(. :ue to his ea$ly death, ,e -annot kno, any 'o$e.
#oe's p$odu-ed in this pe$iod in-lude:
Au$atsubo ni
AobCu no$uya
:aikon hiki
>n the ho$se9s pa-k
"he little kid sitsH
Radish pullin&.
DNB3, 292E
4ith this ne, poeti- attitude, Bash set out on a 2ou$ney ba-k to *&a, as he had done be(o$e
,hen t$yin& to pull his li(e to&ethe$ in a ne, (ashion. He 'ay ha1e e1en desi$ed to &o as (a$
as the southe$n tip o( 3apan. *n -ont$ast to his &ate shuttin& o( the p$e1ious yea$, it appea$s
that he 'et ($eely ,ith people. He ,as e1en able to ,$ite o--asional poe's sho,in&
$e'a$kable se$enity:
.hi$a&iku no
@e ni tatete 'i$u
8hi$i no nashi
6 ,hite -h$ysanthe'u',
Holdin& 'y eyesHsta$in&,
7ot a spe-k o( dust.
DNB3, 325E
6t the sa'e ti'e, ho,e1e$, Bash ,as ,$itin& 'o$e poe's sho,in& a sense o( un(inished
business, o( ,antin& to keep &oin& in the (a-e o( old a&e and death:
Aono aki ,a
7ande toshiyo$u
Au'o no to$i
"his autu'n,
.o'eho, *9' &ettin& olde$+
*nto the -louds, a bi$d.
DNB3, 32KE
Aono 'i-hi ya
Guku hito nashi ni
6ki no ku$e
"his $oad
4hi-h no one t$a1els,
"he autu'n dusk.D!1E
DNB3, 32KE
"hese sa'e senti'ents o( bein& alone and ,antin& to keep &oin& a$e (ound e1en in his death
poe' ?uoted at the be&innin& o( this essay. His $oad, ho,e1e$, ,as -ut sho$t by his -h$oni-
intestinal p$oble' nea$ >saka in 1!9K, his (i(tieth yea$. 4hile his dis-iples su$$ounded thei$
'aste$, the 'an Bash died, ha1in& (ailed to -o'plete his $e-on-iliation ,ith that $ole they
had th$ust upon hi'.
!2
"his last pe$iod o( Bash9s li(e had b$ou&ht on his ulti'ate loneliness. "his ti'e his loneliness
a$ose not th$ou&h isolation ($o' the inti'ate sa-$ality o( a so-ial ne0us, but th$ou&h his
isolation ($o' the sa!i(illed ,o$ld o( 'eanin& he had dis-o1e$ed th$ou&h poet$y on his
t$a1els. Bo$ his dis-iples, ho,e1e$, he had be-o'e a 'aste$, ha1in& opened up the possibility
o( this ne, ,o$ld o( 'eanin& (o$ othe$s ,ho -ould pe$(e-t thei$ haiku alon& his path.
*$oni-ally, Bash9s isolation ($o' his ,o$ld o( sa!i ,as in la$&e pa$t due to his be-o'in& thei$
T'aste$U. *n his 1e$y li(eti'e, then, the$e ,as a dispa$ity bet,een Bash, the 'aste$ o( a haiku
,o$ld o( 'eanin&, and Bash, the 'an unable to (ul(ill that $ole, ,ho be-a'e isolated ($o'
his o,n o( 'eanin&. 6(te$ his death, ho,e1e$, the i'a&e o( hi' as 'aste$ li1ed on ,hile the
lonely 'an ,as (o$&otten, at least until that i'a&e o( 'aste$ ,as b$oken. "he dispa$ity o(
'aste$ and 'an in li(e &$e, into the dispa$ity o( a -ulti- 'e'o$y and an histo$i-al 'an.
Bash9s ulti'ate loneliness, then, $e(le-ts an isolation ($o' his o,n le&a-y.
>ne o( the i'po$tant -ont$ibutions the study o( pe$sonalities -an 'ake to an unde$standin& o(
$eli&ious t$aditions is the in1esti&ation o( the $elationships o( histo$i-al indi1iduals to the
sa-$ed li(e ideals $e'e'be$ed by t$aditions. "he -ase o( Bash su&&ests that the i'pa-t o( a
pe$sonality upon the establish'ent o( a li(e ideal (o$ a t$adition does not ne-essa$ily $e(le-t the
su--ess(ul li1in& o( that ideal by the (ounde$. 7o$ -an the di((e$en-e bet,een the li(e ideal
$e'e'be$ed by the t$adition and the histo$i-al li(e o( the (ounde$ ne-essa$ily be as-$ibed
solely to the enhan-e'ents, (antasies, -on(usions, and so (o$th, o( late$ (ollo,e$s. *nstead, as
in the -ase o( Bash and the haiku li(e ideal, the 1e$y dispa$ity bet,een the li(e ideal seen by a
t$adition in its (ounde$, and his a-tual li(e, 'ay itsel( ha1e $oots in the 1i-issitudes o( that
o$i&inal pe$sonality.
Notes
1. Akutaga7a .y0nosuke 3ensh0 D"okyo: *,ana'i .hoten, 193K1935E, **, pp. 1%512%.
2. TNB3,U (ollo,ed by a nu'be$ $e(e$s to the pa&e nu'be$ in Nolu'e OOO o( oten
Nihon Bungaku 3ensh0 D"okyo: 8hiku'a .hob, 19!1E, the sou$-e (o$ the poe's in
this essay.
TNB'U $e(e$s to Nolu'e O5N* o( Nihon oten Bungaku 'aikei D"okyo: *,ana'i
.hoten, 1959E, the sou$-e (o$ the p$ose passa&es and poe's ($o' the dia$ies.
3. TAa'iU, o( -ou$se, a$e the 3apanese deities ne1e$ se1e$ely sepa$ated ($o' the ,o$ld o(
hu'ans.
K. "sei ,as one o( Bash9s p$o(essional na'es. TReishinU 'eans lite$ally Tspi$it deityU.
>the$ na'es &i1en, in-ludin& the (i$st one by the -ou$t, ,e$e: Hana no @oto @yshin
DB$i&ht :eity <nde$ the Blosso'sE, .h(u .hQshi DReli&ious "ea-he$ o( the 8o$$e-t
.tyleE, and Hion @yshin DB$i&ht :eity o( the 3u'pin& .ound, a(te$ Bash9s 'ost
(a'ous haiku on the sound o( a ($o& 2u'pin& into an old pondE. Bo$ these na'es and
thei$ o--asions, see 6be Ai'io, "atsuo Bash/ D"okyo: Goshika,a Abunkan, 19!1E,
pp. 232233, and the Nihon Bungaku Dai&iten D"okyo: .hin-hsha, 1951E, N*, pp. K8
K9.
5. "his in(o$'ation, ,ith an o$i&inal te0t, -an be (ound in *shida @otonosuke,
Hai!ungaku .onk/ DAyoto: Gtokusha, 19KKE, pp. 219222.
!. B$o' TBi,aen AushQU, in the Nihon Haish0 'aikei D"okyo: 7ihon HaishQ ank/ ai,
192JE, O*N, p. 5%K.
J. .ee 6be Ai'io, "atsuo Bash/, p. 228.
8. "hese 'ounds, pe$haps de$i1in& ($o' belie(s in ka'i des-endin& upon 'ountains,
,e$e a t$aditional 'eans o( ensh$inin& a deity in 3apanese (olk belie(. "he$e is
e1iden-e that .hin&on hi2i$i and ,ande$in& ya'abushi also used 'ounds as alta$s. .ee
>tsuka @inCoku /akkai, Nihon "inzoku 2iten D"okyo: Abundo, 19J2E, p. K59.
9. .ee 6be Ai'io, pp. 22J228+ Bungaku 2iten N*, p. K8+ and espe-ially *shida, pp. 233
2K%.
1%. Muoted in 6be Ai'io, p. 232.
11. Nihon Haish0 'aikei, O**, p. JK.
12. I!i*(, p. 22!.
13. $hiki 3ensh0 D"okyo: AaiCsha, 193%E, N*, pp. 131132.
1K. Ak0taga7a .y0nosuke 3ensh0, N*, p. 31%.
15. *n $e1ie,in& this e0t$e'ely b$ie( histo$y o( the i'a&e o( Bash, ,e -an see the (o$-e
o( indi1idual pe$sonalities in the shapin& o( the di$e-tion o( that histo$y. "hose haiku
poets ,ho &athe$ed annually a$ound thei$ statues o( Bash 'ust ha1e (elt the p$essu$es
(o$ &$oup solida$ity and belon&in&, ,hi-h ha1e been so st$on& in 3apan, and ,e$e also
d$a,n to a 'an ,ho' they thou&ht had (ound (ul(ill'ent in haiku. *t ,ill soon be
appa$ent that the$e ,e$e -i$-u'stan-es in *ssa9s li(e ,hi-h ,e$e like Bash9s. .hiki
de'anded an indi1idual e0p$ession unde$ the in(luen-e o( 4este$n thou&ht, an idea
,hi-h unde$-ut the i'po$tan-e o( Bash. 6kuta&a,a ,as p$o(oundly inte$ested in the
inte&$ation o( li(e and a$t, e1en killin& hi'sel( as a sup$e'e a$tisti- a-t. "his led to his
(as-ination ,ith Bash, a 'an in ,ho' he sa, the dispa$ity o( a$tisti- ideals and
a-tual li(e.
1!. ;$ik ;$ikson, 4oung "an ,uther D7e, Go$k: 4. 4. 7o$ton, 1958E, p. 5K.
1J. I!i*(, p. 1!.
18. I!i*(, p. JK.
19. .ee Ga'a'oto "adai-hi, TBash Bun&aku no .hQky .eiU, Bukky/ Bungaku enky0,
ed. Bukky Bun&aku AenkyQ Aai D"okyo: hCokan, 19!KE, **, pp. 2K8, 251253.
2%. 8(. Hayashi RanCan D15831!5JE+ 7akae "2u D1!%81!K8E+ Ga'aCaki 6nsai D1!18
1!82E+ Ga'a&a .ok D1!221!85E.
21. 6 tho$ou&h, althou&h -ont$o1e$sial, dis-ussion o( "oku&a,a 1alues is Robe$t Bellah,
'okuga7a .eligion D/len-oe, *llinois: "he B$ee #$ess, 195JE.
22. @akoto <eda, "atsuo Bash/ D7e, Go$k: ",ayne #ublishe$s, 19J%E, p. 2%. .ee also
the 'o$e detailed &enealo&i-al in(o$'ation in 6be Ai'io, pp. 31%.
23. "his s-hool ,as (ounded by "eitoku Dd. 1!53E. .ee Ha$old Hende$son, An
Intro*u1tion to Haiku D7e, Go$k: :oubleday and 8o., 1958E, pp. 1113.
2K. .ee, (o$ e0a'ple, his poe' (o$ the pa$ents o( a dead in(ant, be&innin& T.hio$e (usu yaU
DNB3, 8E.
25. Bo$ this, and the spe-ulations o( othe$s as ,ell, see <eda, p. 21.
2!. 5ate$ he ,as to -lai' to ha1e desi$ed at ti'es to be a s-hola$ o$ hold an o((i-ial post,
and these state'ents 'ay $e(e$ to this pe$iod. .ee <eda, p. 22.
2J. .ee 6be Ai'io, pp. 2J29, (o$ these ea$ly su--esses.
28. /eo$&e .anso', A History of 2apan, 1D1E+1FDG D.tan(o$d: .tan(o$d <ni1e$sity #$ess,
19!3E, p. 11K.
29. .ee <eda, p. 23. B$o' his poe's, the$e is no indi-ation that he ,as anythin& but a
,illin& pa$ti-ipant in -ity -ultu$e at this ti'e. "his -ont$adi-ts an o(ten held opinion
that he ,as so'eho, sepa$ated ($o' that &ay li(e, as is su&&ested ($o' an analysis
o1e$ly based on -lass in Hi$osue "a'otsu, %enroku Bungaku enky0 D"okyo: "okyo
:ai&aku .huppan .ha, 1955E, pp. 1J2J.
3%. "his s-hool ,as (ounded by .in Dd. 1!82E. .ee Hende$son, pp. 131K. "he Ts-atte$ed
sho,e$sU 1e$se is not st$i-tly :an$in, but sho,s de(inite :an$in in(luen-e on Bash.
31. Bo$ a dis-ussion o( the allusions in1ol1ed in this na'e, see :onald H. .hi1ely, TBash
H"he @an and the #lantU, Har-ar* 2ournal of Asiati1 $tu*ies, ON* D1953E, pp. 1K!
1!1.
32. "his poe' ,as in $e(e$en-e to the &ou$d in ,hi-h dis-iples donated $i-e.
33. "he -u-koo ,as an i'po$tant poeti- bi$d about ,hi-h e1en a poeti- ha-k should ha1e
been able to ,$ite a poe'.
3K. 6 'an ,as said to be (ully &$o,n at (o$ty. "he 'oon, o( -ou$se, is (ull on the (i(teenth
day. ;1en so, it is st$an&e that he should $e(e$ to hi'sel( as a -hild.
35. :onald Aeene points out that i( Bash ,e$e 'o1ed a--o$din& to (o$'al (ilial piety, he
should ha1e le(t ea$lie$ to be in ti'e (o$ the 'e'o$ial se$1i-e. .ee his TBash9s
3ou$ney o( 1!8KU, in his ,an*s1apes an* 5ortraits D"okyo and #alo 6lto: Aodansha
*nte$national, 5td., 19J1E, pp. 9K1%3. "his a$ti-le is also in Asia "a&or, N** D1959E,
pp. 1311KK.
3!. 3oseph @. Aita&a,a, T"h$ee "ypes o( #il&$i'a&e in 3apanU, $tu*ies in "ysti1ism an*
.eligion 5resente* to %ershom %( $1holem, ed. ;. ;. <$bak, et. al. D3e$usale':
@a&nes #$ess, 19!JE, pp. 1551!K.
3J. I!i*(, p. 1!K.
38. I!i*(, p. 1!K.
39. 8(. Ni-to$ "u$ne$, T"he 8ente$ >ut "he$e: "he #il&$i'9s /oalU, History of .eligions,
O**, 3 DBeb$ua$y, 19J3E, espe-ially pp. 2%K2%5, ,he$e he speaks o( the pil&$i'9s path
as Tin-$easin&ly sa-$aliCed at one le1el and in-$easin&ly se-ula$iCed at anothe$U. 6lso
o( inte$est is his obse$1ation Dp. 2%J and else,he$eE that the pil&$i' 'o1es ($o'
pa$ti-ula$isti- to uni1e$sal bonds, su-h as Tb$othe$U. 4e ,ill (ind Bash doin& this to
an e0t$ao$dina$y de&$ee as he has no pa$ti-ula$isti- bonds to $etu$n to.
K%. :onald Aeene, TBash9s 3ou$ney to .a$ashinaU, in his ,an*s1apes an* 5ortraits, p.
12K. "his a$ti-le is also a1ailable in 'ransa1tions of the Asiati1 $o1iety of 2apan, thi$d
se$ies, N D:e-., 195JE, pp. 5!83.
K1. .ee H. By$on ;a$ha$t, A .eligious $tu*y of the "ount Haguro $e1t of $hugen*/
D"okyo: .ophia <ni1e$sity #$ess, 19J%E.
K2. His sel(des-$iption is in Nozarashi ik/ DNB', 58E.
K3. NB', J5.
KK. "his dis-ussion o( te-hni?ue and the idea o( i'pe$sonality o,es a hea1y debt to
@akoto <eda, ,iterary an* Art 'heories in 2apan D8le1eland: 4este$n Rese$1e
<ni1e$sity #$ess, 19!JE, pp. 1K51J2. Ga'a'oto, pp. 25J259, des-$ibes Bash9s
pa$ti-ipation in mu&/kan, o$ Tt$ansito$inessU, in so'e,hat si'ila$ (ashion.
K5. .ee <eda, ,iterary an* Art 'heories, p. 15!. 6lso, 7ippon /aku2utsu .hinkkai,
Haikai an* Haiku D"okyo, 1958E, pp. O*O and ON**.
K!. 4hile it is t$ue that Bash $e1ised 'any o( his ,o$ks, at no ti'e did this see' to
lessen the i'po$tan-e o( e0pe$ien-in& e1e$ythin& he t$ied to e0p$ess, and -o'posin&
on the spot.
KJ. 6lbe$t 8$ai&, T*nt$odu-tion: #e$spe-ti1es on #e$sonality in 3apanese Histo$yU,
5ersonality in 2apanese History, ed. 6lbe$t 8$ai& and :onald .hi1ely DBe$keley:
<ni1e$sity o( 8ali(o$nia #$ess, 19J%E, p. 23.
K8. ;$ikson, 4oung "an ,uther, p. 1%%.
K9. 8$ai&, T*nt$odu-tionU, p. 1J.
5%. Muoted in 8$ai&, p. 18.
51. Bash, Nozarashi ik/ D.e1or*s of a )eather 6:pose* $keleton, 1!8K1!85, dates
$e(le-tin& the ti'e o( the t$ipE.
HHH, ashima ik/ DA Visit to ashima $hrine, 1!8JE.
HHH, Oi no o!umi D.e1or*s of a 'ra-el )orn $at1hel, 1!8J1!88E.
HHH, $arashina ik/ DA Visit to $arashina Village, 1!88E.
HHH, Oku no Hosomi1hi D'he Narro7 .oa* to the Deep North, 1!89E.
"he t$anslations o( these titles a$e bo$$o,ed ($o' those in 7obuyuki Guasa9s 'he
Narro7 .oa* to the Deep North an* Other 'ra-el $ket1hes D@iddlese0: #en&uin
Books, 19!!E. *n addition to t$a1el dia$ies, Bash -ontinued to ,$ite othe$ haiku,
renku, and sho$t sket-hes -alled hai!un(
52. .e1e$al poe's ($o' this pe$iod ha1e Buddhist o1e$tones, but a$e 'ost o(ten -o'posed
in te'ple settin&s and -an be seen as bein& si'ply app$op$iate to the pla-e in ,hi-h
Bash (ound hi'sel(. "he$e is no e1iden-e that Bash had 'o$e than a 1e$y &ene$al
popula$ unde$standin& o( Buddhis', (ilte$ed th$ou&h his $eadin& o( an-ient lite$atu$e
and 7 d$a'a. He ,ould d$a, upon this unde$standin& du$in& 1isits to (a'ous
Buddhist te'ples, but only as pa$t o( his &ene$al -on-e$n ,ith histo$i-al and lite$a$y
ba-k&$ound in e1e$y pla-e he ,ent. 6t one point in Nozarashi ik/, he see's i$$itated
,hen he -annot &et into the *se .h$ine be-ause he is 'istaken (o$ a Buddhist p$iest.
Bash had b$ie(ly (li$ted ,ith Ien in ;do unde$ a 'aste$ na'ed Bu--ho. "his p$iest,
ho,e1e$, 'o1ed a,ay in 1!82, and, ,hile Bash $e'ained (ond o( hi', it is
i'possible to think that he p$a-ti-ed Ien (o$ 'o$e than the sho$test pe$iod o( ti'e.
53. ;a$l @ine$, 2apanese 5oeti1 Diaries DBe$keley and 5os 6n&eles: <ni1e$sity o(
8ali(o$nia #$ess, 19!9E, p. K5. He$e, too, is the su&&estion o( the ,hole t$ip as a
destination.
5K. <eda, ,iterary an* Art 'heories, pp. 1K9 ((.
55. >ne 1e$sion o( this be&ins, T.abishisa yaU, o$ TlonelinessU. .ee NB3, 182.
5!. Muoted in 6be Ai'io, p. 189.
5J. I!i*(, pp. 151!.
58. I!i*(, pp. 18! ((.
59. Heikan no $etsu DNB', 2%82%9E.
!%. .ee <eda, ,iterary an* Art 'heories, pp. 1!5 ((., and 7ippon /aku2utsu .hinkkai,
Hakai an* Haiku, p. OO.
!1. <eda, in "atsuo Bash/, p. !1, notes that this ,as ,$itten at the peak o( his (a'e,
,hile he ,as su$$ounded by dis-iples.
!2. * suspe-t that Ay$ai, Bash9s t$uest dis-iple, did not take 'any students be-ause he
$ealiCed ,hat had happened to his 'aste$.
5u-ien .t$yk
*nt$odu-tion to On ,o-e an* Barley: Haiku of Bash/,
t$anslated by 5u-ien .t$yk, #en&uin Books, 1985, pp. 919.
XIn the follo7ing essay, $tryk *is1usses Bash/;s poeti1 style an* notes the la1k of *i*a1ti1ism
in his 3en+inspire* -erses, 7hi1h 1ele!rate all things an* seek to 7rest the eternal from the
1on1rete 7orl*(Y
*t is ni&ht: i'a&ine, i( you ,ill, a path leadin& to a hut lost in a ,ildly &$o,in& a$bou$, shaded
by the !asho, a ,idelea(ed banana t$ee $a$e to 3apan. 6 slidin& doo$ opens: an ea&e$eyed
'an in 'onk9s $obe steps out, su$1eys his shado,y thi-ket and the pu$ple outline o( a distant
'ountain, bends his head to -at-h the $ush o( $i1e$ 2ust beyond+ then, lookin& up at the sky,
pauses a ,hile, and -laps his hands. "h$ee hund$ed yea$s passHthe 1oi-e $e'ains ($esh and
e0-itin& as that 'o'ent.
.u''e$ 'oonH
-lappin& hands,
* he$ald da,n.
.o it ,as ,ith @atsuo Ainsaku D1!KK9KE, the (i$st &$eat haiku poet, ,ho ,ould late$ -han&e
his na'e to Basho in honou$ o( the t$ee &i1en hi' by a dis-iple.
Basho appea$ed on the s-ene soon a(te$ the so-alled :a$k 6&e o( 3apanese lite$atu$e D1K25
1!25E, a ti'e o( the popula$iCation o( pu$ely indi&enous 1e$se (o$'s, and the b$illiant
be&innin& o( the "oku&a,a e$a D1!%318!JE. "he haiku ,as al$eady ,ell established, ,ith its
o,n distin-t $ules, but in the hands o( $ules'iths Das in the sonnet o( 4este$n 1e$seE it ,as
e0pi$in& o( a$ti(i-iality. 6l'ost alone, Basho $ein1i&o$ated the (o$'. Ho, he did so is,
(o$tunately, ,ell kno,n, (o$ a'on& his 'any ad'i$e$s ,e$e a (e, (a$seein& enou&h to $e-o$d
his -o''ents, lite$ally to -at-h hi' on the $un, (o$ he ,as al,ays a -o'pulsi1e t$a1elle$,
,ande$in& all o1e$ 3apan in sea$-h o( ne, si&hts and e0pe$ien-es.
He ,$ote at least one thousand haiku, as ,ell as a nu'be$ o( t$a1el sket-hes, ,hi-h -ontain
so'e o( his (inest poe's. >ne o( the sket-hes, 'he .e1or*s of a 'ra-el+)orn $at1hel, be&ins
,ith a 'ost $e1ealin& a--ount o( ,hat poet$y 'eant to hi':
*n this poo$ body, -o'posed o( one hund$ed bones and nine openin&s, is so'ethin& -alled
spi$it, a (li'sy -u$tain s,ept this ,ay and that by the sli&htest b$eeCe. *t is spi$it, su-h as it is,
,hi-h led 'e to poet$y, at (i$st little 'o$e than a pasti'e, then the (ull business o( 'y li(e.
"he$e ha1e been ti'es ,hen 'y spi$it, so de2e-ted, al'ost &a1e up the ?uest, othe$ ti'es
,hen it ,as p$oud, t$iu'phant. .o it has been ($o' the 1e$y sta$t, ne1e$ (indin& pea-e ,ith
itsel(, al,ays doubtin& the ,o$th o( ,hat it 'akes V 6ll ,ho a-hie1e &$eatness in a$tH
.ai&yo in t$aditional poet$y, .o&i in linked 1e$se, .esshu in paintin&, Rikyu in tea -e$e'ony
Hpossess one thin& in -o''on: they a$e one ,ith natu$e.
"o,a$ds the end o( his li(e Basho -autioned (ello, haiku poets to $id thei$ 'inds o(
supe$(i-iality by 'eans o( ,hat he -alled karumi Dli&htnessE. "his ?uality, so i'po$tant to all
a$ts linked to Ien DBasho had be-o'e a 'onkE, is the a$tisti- e0p$ession o( nonatta-h'ent, the
$esult o( -al' $ealiCation o( p$o(oundly (elt t$uths. He$e, ($o' a p$e(a-e to one o( his ,o$ks, is
ho, the poet pi-tu$es karumi: T*n 'y 1ie, a &ood poe' is one in ,hi-h the (o$' o( the 1e$se,
and the 2oinin& o( its t,o pa$ts, see' li&ht as a shallo, $i1e$ (lo,in& o1e$ its sandy bed.U
Basho9s 'atu$e haiku style, $hofu, is kno,n not only (o$ karumi, but also (o$ t,o othe$ Ien
inspi$ed aestheti- ideals: sa!i and 7a!i( $a!i i'plies -ontented solita$iness, and in Ien is
asso-iated ,ith ea$ly 'onasti- e0pe$ien-e, ,hen a hi&h de&$ee o( deta-h'ent is -ulti1ated.
)a!i -an be des-$ibed as the spi$it o( po1e$ty, an app$e-iation o( the -o''onpla-e, and is
pe$haps 'ost (ully a-hie1ed in the tea -e$e'ony, ,hi-h, ($o' the si'ple utensils used in the
p$epa$ation o( the tea to the 1e$y st$u-tu$e o( the tea hut, honou$s the hu'ble.
Basho pe$-ei1ed, ea$ly in his -a$ee$, that the (i$st haiku ,$ite$s, a'on& the' .okan D1K58
15K!E and @o$itake D1KJ215K9E, ,hile histo$i-ally o( 'u-h i'po$tan-e, had little to o((e$
poets o( his day. "hese ea$ly ,$ite$s had -$eated the haiku (o$' by establishin& the autono'y
o( the pa$ts o( haikai renga, se?uen-es o( se1enteensyllable 1e$ses -o'posed by poets
,o$kin& to&ethe$. "hou&h thei$ poe's possessed the desi$ed te$seness, they did not
ade?uately e1oke natu$e and, (o$ the 'ost pa$t, la-ked karumi( Basho ,o1e his poe's so
-losely a$ound this (eelin& o( li&htness that at ti'es he da$ed i&no$e ti'ehonou$ed ele'ents
o( the (o$', in-ludin& the syllabi- li'itation. "he (ollo,in& pie-e, a'on& his &$eatest,
-onsists in the o$i&inal o( ei&hteen syllables:
Aa$eeda ni
Aa$asu no to'a$ike$i
6ki no ku$e
>n the dead li'b
s?uats a -$o,H
autu'n ni&ht.
.o $a$e in the histo$y o( haiku ,as su-h li-en-e that th$ee hund$ed yea$s on, a ne, haiku
s-hool, the .oun, o$ ($ee1e$se, s-hool, 2usti(ied its abandon'ent o( syllabi- o$thodo0y on the
&$ounds that 3apan9s &$eatest poet had not been -onst$ained by su-h $ules. *n 'ost $espe-ts,
ho,e1e$, Basho ,as a t$aditionalist, his poe's (ollo,in& 1e$y -losely the e0pe-ted st$u-tu$al
de1elop'ent: t,o ele'ents di1ided by a b$eak Dkire&i, o$ T-uttin& ,o$dU, best $ende$ed in
;n&lish by e'phati- pun-tuationE, the (i$st ele'ent bein& the -ondition o$ situationHT.p$in&
ai$U, in the (i$st o( the (ollo,in& e0a'plesHthe othe$ the sudden pe$-eption, p$e-eded by
kire&i Din these pie-es a dashE.
.p$in& ai$H
,o1en 'oon
and plu' s-ent.
;a$ly autu'nH
$i-e (ield, o-ean,
one &$een.
<nkno,n sp$in&H
plu' blosso'
behind the 'i$$o$.
.o the poet p$esents an obse$1ation o( a natu$al, o(ten -o''onpla-e e1ent, in plainest di-tion,
,ithout 1e$bal t$i-ke$y. "he e((e-t is one o( spa$eness, yet the $eade$ is a,a$e o( a 'i-$o-os'
$elated to t$ans-endent unity. 6 'o'ent, -$ystalliCed, distilled, snat-hed ($o' ti'e9s (lo,, and
that is enou&h. 6ll su&&estion and i'pli-ation, the haiku e1ent is held p$e-ious be-ause, in
pa$t, it de'ands the $eade$9s pa$ti-ipation: ,ithout a sensiti1e audien-e it ,ould appea$
uni'p$essi1e. Haiku9s &$eat popula$ity is only pa$tly due to its a1oidan-e o( the (o$biddin&
obs-u$ities (ound in othe$ kinds o( 1e$se: 'o$e i'po$tant, it is likely to &i1e the $eade$ a
&li'pse o( hithe$to un$e-o&niCed depths in the sel(.
6s ,e ha1e seen, the sob$i?uet Basho, a'usin& e1en to his (ello, -ount$y'en, ,as taken by
the poet ($o' a t$ee planted by the hut in ,hi-h he li1ed and 'et dis-iples, pe$haps be-ause it
su&&ested the li&htness he sou&ht in li(e and a$t. He lo1ed the na'e, 'akin& 'any $e(e$en-es
to it in ,$itin&. *n 3apan, too -old (o$ the t$ee to bea$ ($uit, the !asho ,as thou&ht e0oti-, and
thou&h its t$unk had no p$a-ti-al use its bi& so(t lea1es o((e$ed (ine shade in su''e$. ;a-h o(
the th$ee huts the poet ,as to o,n th$ou&hout his li(e ,as -alled the Basho hut, the t$ee
t$ansplanted ,he$e1e$ he settled. ;1en on his 2ou$neys he see'ed ne1e$ to be a,ay ($o' his
hut, as the (ollo,in& poe' su&&ests:
Banana lea1es han&in&
$ound 'y hutH
'ust be 'oon1ie,in&.
5ittle is kno,n o( the poet9s ea$ly li(e. *t is belie1ed he ,as bo$n in o$ nea$ <eno in *&a
#$o1in-e, a$ound thi$ty 'iles southeast o( Ayoto. He had an elde$ b$othe$ and (ou$ siste$s.
His (athe$, @atsuo GoCae'on, possibly a lo,$ankin& sa'u$ai, (a$'ed in ti'es o( pea-e,
'akin& a 'odest yet $espe-table li1in&. >( the poet9s 'othe$ all ,e kno, is that it is unlikely
that she ,as a nati1e o( <eno. 6bout the ti'e o( his (athe$9s death in 1!5!, Basho ente$ed the
se$1i-e o( the sa'u$ai "odo Goshitada, a youn& $elati1e o( the lo-al (eudal lo$d. He ,as 1e$y
,ell t$eated, and it ,as in these yea$s that he be&an ,$itin& 1e$se Dhis ea$liest kno,n ,o$k is
dated 1!!2E. 4hen Goshitada died, p$e'atu$ely, in 1!!!, the poet $esi&ned his position and
'o1ed, it is thou&ht, to Ayoto. 6 (e, o( Basho9s bio&$aphe$s 'ention a 'ist$ess D,ho ,as to
be-o'e a nun na'ed 3uteiE, e1en a -hild o$ t,oHbut all -on-e$nin& that pa$t o( his li(e is
shee$est spe-ulation.
*t is kno,n (o$ -e$tain that by 1!J2 Basho ,as in ;do D'ode$n "okyoE, hopin& (o$ a lite$a$y
-a$ee$. He ,$ote, a'on& othe$ thin&s, a pai$ o( hund$ed1e$se renku ,ith anothe$ poet, -$iti-al
-o''enta$ies (o$ Haiku 8ontests in 6ighteen .oun*s, p$odu-ed an antholo&y o( his o,n and
his best pupils9 ,o$k, Best 5oems of 'osei;s '7enty Dis1iples Dhe ,as then -alled "oseiE, and,
like all haiku tea-he$s then and sin-e, 2ud&ed one -ontest a(te$ anothe$, in-ludin& T"he Rusti-
Haiku 8ontestU and T"he ;1e$&$een Haiku 8ontestU. .oon he settled in his (i$st Basho hut,
built (o$ hi' in 1!8% by an ad'i$e$, .a'pu, in Buka&a,a, in an isolated spot nea$ the .u'ida
$i1e$, and it ,as he$e that he be&an to att$a-t, not pupils, but dis-iples. B$o' the sta$t o( his
-a$ee$ as an established 'aste$ he d$e, the 'ost p$o'isin& youn& ;do haiku poets, ,ho -a'e
seekin& ad1i-e and, on o--asion, to en&a&e ,ith hi' in -o'position o( linked 1e$se. 5ate$,
the$e ,e$e pe$iods ,hen he (ound 1isito$s no lon&e$ bea$able, so he ,ould keep his &ate
lo-ked:
@o$nin&&lo$y t$ailin&H
all day the &ate
bolt9s (astened.
Basho lo1ed and needed solitude: T* a' like a si-k 'an ,ea$y o( so-iety,U he ,$ote. T"he$e
,as a ti'e * ,anted an o((i-ial post, land o( 'y o,n, anothe$ ti'e * ,ould ha1e liked to li1e
in a 'onaste$y. Get * ,ande$ed on, a -loud in the ,ind, ,antin& only to -aptu$e the beauty o(
(lo,e$s and bi$ds.U But ($o' the sta$t o( his $esiden-e nea$ ;do he en&a&ed ,ith dis-iples in
p$o(ound dis-ussion o( the a$t o( haiku, and ,as soon kno,n as the (o$e'ost li1in& theo$ist.
He$e, one o( his dis-iples, :oho, ,$ites o( a -on1e$sation ,ith the poet:
"he 'aste$ said, T5ea$n about a pine t$ee ($o' a pine t$ee, and about a ba'boo stalk ($o' a
ba'boo stalk.U 4hat he 'eant ,as that the poet should deta-h his 'ind ($o' sel( V and
ente$ into the ob2e-t, sha$in& its deli-ate li(e and its (eelin&s. 4he$eupon a poe' (o$'s itsel(.
:es-$iption o( the ob2e-t is not enou&h: unless a poe' -ontains (eelin&s ,hi-h ha1e -o'e
($o' the ob2e-t, the ob2e-t and the poet9s sel( ,ill be sepa$ate thin&s.
"o &i1e an indi-ation o( the in(luen-e o( su-h -o''ents on subse?uent p$a-ti-e o( the a$t, a
-onte'po$a$y haiku s-hool, "en$o, possesses a -$eed, $hasei Donthespot -o'position, ,ith
the sub2e-t Tt$a-ed to its o$i&inUE, 1i$tually based on the theo$eti-al state'ents and p$a-ti-e o(
Basho. "en$o has so'e t,o thousand 'e'be$s all o1e$ 3apan, and it is -usto'a$y (o$ &$oups
to 'eet at a desi&nated spot, pe$haps a Ien te'ple in a pla-e (a'ous (o$ its pines o$ ba'boo,
and the$e ,$ite as 'any as one hund$ed haiku in a day, atte'ptin& to ente$ the ob2e-t, Tsha$e
its deli-ate li(e and (eelin&sU. 6s 'i&ht be e0pe-ted, the$e is 'u-h i'itation o( the 'aste$. Get
Basho ,as se1e$e ,ith dis-iples ,ho did little 'o$e than i'itate hi':
Rhy'in& i'itato$sH
'usk 'elons
,ha-ked to hal1es.
Basho9s p$ose ,as as distin-ti1e as his poet$y, o(ten takin& the (o$' o( hai!un Dp$ose (ollo,ed
by haikuE, -ha$a-te$isti-ally -on-$ete and i'a&isti-. 4$ite$s o( hai!un used 'any 8hinese
-ha$a-te$s Dideo&$a'sE, ,hi-h in -ont$ast to phoneti- 3apanese ha1e a st$on& 1isual e((e-t.
"hus the p$ose ,as -onsonant ,ith the 1e$se it a--o'panied. #e$haps Basho9s (inest p$ose,
and 'ost i'p$essi1e haiku, -an be (ound in the $e'a$kable t$a1el sket-hes he -o'posed
th$ou&hout his $estless li(e, in-ludin& 'he .e1or*s of a )eather+6:pose* $keleton D1!8K5E,
A Visit to ashima $hrine D1!8JE, 'he .e1or*s of a 'ra-el+)orn $at1hel D1!88E and, 'ost
a'bitious o( all, 'he Narro7 .oa* to the Deep North, be&un in 1!89. *n the best o( these
sket-hes, and al,ays in the late ones, p$ose and 1e$se ,o$k o$&ani-ally to&ethe$, and thou&h,
(ollo,in& hi', 'any ha1e p$odu-ed si'ila$ ,o$ks in 1a$ious (o$'s and lan&ua&es, his stand
alone (o$ thei$ absolute natu$alness.
*t is espe-ially in the t$a1el sket-hes that the poet9s p$o(ound debt to Ien is appa$ent. 5ike
othe$ haiku poets o( his ti'e Basho -onside$ed hi'sel( a Iennist, indeed ,as thou&ht to be a
Ien 'onk. *t is kno,n that he p$a-tised the dis-ipline unde$ the 'aste$ Bu--ho, ,ith ,ho',
a--o$din& to :. ". .uCuki in 'he 6ssentials of 3en Bu**hism D19!3E, he had the (ollo,in&
e0-han&e:
Bu--ho: Ho, a$e you &ettin& alon& these days=
Basho: 6(te$ a $e-ent $ain the 'oss has &$o,n &$eene$ than e1e$.
Bu--ho: 4hat Buddhis' is the$e p$io$ to the &$eenness o( 'oss=
Basho: 6 ($o& 2u'ps into the ,ate$, hea$ the soundS
*t has been -lai'ed that this e0-han&e, inspi$ation (o$ one o( the poet9s bestkno,n poe's,
be&an an epo-h in the histo$y o( haiku.
6ll his li(e a ,ande$e$, Basho took (ull ad1anta&e o( the sa(e-ondu-tHi'po$tant to the
t$a1elle$ o( his dayHand 'obility Ien p$iesthood o((e$ed. He &a1e up 1i$tually all
possessions, his only -on-e$n spi$itual and a$tisti- dis-o1e$y.
Bi$st ,inte$ $ainH
* plod on,
"$a1elle$, 'y na'e.
Basho9s dis-ussion o( poet$y ,as al,ays tin&ed by Ien thou&ht, and ,hat in his 'atu$ity he
ad1o-ated abo1e all ,as the $ealiCation o( muga, so -lose an identi(i-ation ,ith the thin&s one
,$ites o( that sel( is (o$&otten. 6s Ien9s .i0th #at$ia$-h, Huinen& D!3JJ12E, put it, one
should not look at, but as, the ob2e-t. *t is o( -ou$se one thin& to 1oi-e ideals, anothe$ to attain
the'. Basho9s late poe's de'onst$ate that, in spite o( pe$iods o( a-ute sel(doubt, he ,as able
to a-hie1e a unity o( li(e and a$t, the &$eat hope o( Ien -$eato$s. T4hat is i'po$tant,U he
,$ote, Tis to keep 'ind hi&h in the ,o$ld o( t$ue unde$standin&, then, $etu$nin& to daily
e0pe$ien-e, seek the$ein the t$ue and the beauti(ul. 7o 'atte$ ,hat the a-ti1ity o( the 'o'ent,
,e 'ust ne1e$ (o$&et it has a bea$in& on e1e$lastin& sel(, ou$ poet$y.U 6s :. ". .uCuki
e0plains, haiku has al,ays been one ,ith Ien:
4hen a (eelin& $ea-hes its hi&hest pit-h, ,e $e'ain silent, e1en 1J syllables 'ay be too
'any. 3apanese a$tists V in(luen-ed by the ,ay o( Ien tend to use the (e,est ,o$ds o$
st$okes o( b$ush to e0p$ess thei$ (eelin&s. 4hen they a$e too (ully e0p$essed no $oo' (o$
su&&estion is possible, and su&&estibility is the se-$et o( the 3apanese a$ts.
"hou&h inspi$ed by Ien, Basho9s haiku a1oided the dida-ti- tone o( 'u-h -lassi-al Ien
poet$y, e1en the &$eatest:
4aka on the :ia'ond .ut$a
8o'in&, &oin&, the ,ate$(o,l
5ea1es not a t$a-e,
7o$ does it need a &uide.
Bi$' on the se1en Buddhas9 -ushion,
8ent$e, -ent$e. He$e9s the a$'$est
@y 'aste$ handed do,n. 7o,, to itS
Head up, eyes st$ai&ht, ea$s in line ,ith shoulde$s.
4aka on Ien .ittin&
.-a$e-$o, in the hillo-k
#addy(ieldH
Ho, una,a$eS Ho, use(ulS
4$itten by :o&en D12%%1253E, ,ho in the Aa'aku$a pe$iod int$odu-ed .oto Ien to 3apan,
su-h poe's ,e$e 'eant to en-ou$a&e dis-iples. :o&en did not think hi'sel( a poet: he ,as,
like all Ien 'aste$s, a &uide, ,hose 'ission ,as to point 'inds to enli&hten'ent, and the
poe's he ,$ote ,e$e 'eant only to se$1e that end. Basho, on the othe$ hand, ,as -ons-ious
o( bein& an a$tist, and sa, the -on-eptual, ,hate1e$ its appli-ation, as the ene'y o( a$t.
Basho st$o1e to pla-e his $eade$ ,ithin an e0pe$ien-e ,hose un(oldin& 'i&ht lead to
$e1elation, the ete$nal ,$ested ($o' the pheno'enal ,o$ld. 6s a 'ysti-, he kne, the
un-onditioned ,as attainable only ,ithin the -onditioned, nir-ana ,ithin samsaraHthat the
illu'ination sou&ht ,as to be (ound in the he$e and no, o( daily li(e. "h$ou&hout Ien9s
histo$y, ,he$e1e$ p$a-tised, Iennists ha1e pe$-ei1ed a p$o-ess in all su-h 'atte$s, so'e
$elatin& it to do-t$ines su-h as the A-atamsaka, a @ahayana Buddhist sutra o( &$eat
i'po$tan-e to the (o$'ation o( Ien. He$e, (o$ e0a'ple, is ho, the -onte'po$a$y 'aste$
"ai&an "akaya'a inte$p$ets a poe' by 3apan9s &$eatest li1in& Ien poet, .hinki-hi "akahashi.
Bi$st, the poe':
"he #ea-h
6 little &i$l unde$ a pea-h t$ee,
4hose blosso's (all into the ent$ails
>( the ea$th.
"he$e you stand, but a 'ountain 'ay be the$e
*nstead+ it is not unlikely that the ea$th
@ay be you$sel(.
Gou step a&ainst a plate o( i$on and hal(
Gou$ (a-e is tu$ned to i$on. * ,ill s'ash
Blesh and bone
6nd su-k the -$a-ked pea-h. .he ,ent up the 'ountain
"o hide he$ b$easts in the sno,y $a1ine.
4o'en9s le&s
6$e 'o$e o$ less alike. "he lea1es o( the pea-h t$ee
.t$et-h a-$oss the sea to the end o(
"he -ontinent.
"he sea ,as at the little &i$l9s be-k and -all.
* ,ill -$oss the sea like a hai$y
8ate$pilla$
6nd -at-h the odou$ o( you$ body.
7o,, "ai&an "akaya'a9s -o''ent:
@ost inte$estin&, ($o' both the Ien and lite$a$y points o( 1ie,. 5et9s be&in ,ith the (o$'e$:
an 61ata'saka do-t$ine holds that the uni1e$se -an be obse$1ed ($o' the (ou$ an&les o( D1E
pheno'ena, D2E nou'enon, D3E the identity o( nou'enon and pheno'ena, and DKE the 'utual
identity o( pheno'ena. 7o,, ,hethe$ he ,as a,a$e o( it o$ not, the poet depi-ted a ,o$ld in
,hi-h nou'enon and pheno'ena a$e identi-al. 8onside$in& the poe' ,ith Ien in 'ind, the
lesson to be d$a,n, * suppose, is that one should not loite$ on the ,ay but p$o-eed st$ai&ht to
one9s destinationHthe 1ie,point o( the 'utual identity o( pheno'ena. But ($o' a lite$a$y
point o( 1ie,, the si&ni(i-an-e, and the -ha$', o( the poe' lies in its 'etapho$i-al
p$esentation o( a ,o$ld in ,hi-h nou'enon and pheno'ena a$e identi(ied ,ith ea-h othe$.
X3en: 5oems, 5rayers, $ermons, Ane1*otes, Inter-ie7sY
*t is unlikely that Basho ,ould ha1e disa&$eed ,ith "ai&an "akaya'a, yet the$e is little doubt
he ,ould also ha1e -lai'ed that haiku, at its best, depi-ts a ,o$ld in ,hi-h Tnou'enon and
pheno'ena a$e identi-alU. *ndeed he 'i&ht ha1e insisted, ,ith 2usti-e, that it e0ists to
de'onst$ate su-h identity. >--asionally, to be su$e, Basho ,$ote poe's as e0pli-it in thei$
Ien intention as any 'aste$9s:
.kyla$k on 'oo$H
s,eet son&
o( nonatta-h'ent.
@onks, 'o$nin&&lo$iesH
ho, 'any unde$
the pinet$ee 5a,=
Bou$ te'ple &atesH
unde$ one 'oon,
(ou$ se-ts.
Get su$ely the -hie( $eason (o$ the poet9s uni1e$sal appeal is that he ne1e$ lea1es natu$e, ,hi-h
H;ast, 4estHis one, th$ou&h all p$o-esses and 'ani(estations the sole un-han&in& thin& ,e
kno,. "h$ou&hout his li(e as a ,ande$e$ Basho sou&ht to -eleb$ate: ,hethe$ his eyes tu$ned to
'ountain o$ &o$&e, ,hethe$ his ea$s hea$d thunde$ o$ bi$dson&, ,hethe$ his (oot b$ushed
(lo,e$ o$ 'ud, he ,as intensely ali1e to the p$e-iousness o( all that sha$ed the ,o$ld ,ith
hi'. ;1en his (inal poe', ,$itten (o$ dis-iples sho$tly be(o$e his death, $ea-hes (o$ the
unkno,n:
.i-k on a 2ou$neyH
o1e$ pa$-hed (ields
d$ea's ,ande$ on.
*'pe$'anen-e, Bate, and the 3ou$ney: Bash and the
#$oble' o( @eanin&
by :a1id 5. Ba$nhill
in: .eligion, Nol. 1!, 7o. K, 198!, pp. 323K1.
"he t$a1el 2ou$nals o( @atsuo Bash D1!KK1!9KE, one o( 3apan9s &$eat ,ay(a$in& poets,
p$esent a -o'ple0 1ision o( the uni1e$se and a -o'pellin& ,ay o( li(e.
1
*t is &ene$ally a&$eed
that this 1ision and ,ay o( li(e ha1e $eli&ious si&ni(i-an-e, but ,hat that $eli&iosity -onsists o(
and ho, ,e -an talk about it a$e pe$ple0in& issues.
2
>ne passa&e that su&&ests the distin-ti1e -ha$a-te$ o( Bash9s $eli&iosity -o'es nea$ the
be&innin& o( his (i$st 2ou$nal, 'he .e1or*s of a )eather+6:pose* $keleton DNozarashi ik/E.
* ,as ,alkin& alon& the Bu2i Ri1e$ ,hen * sa, an abandoned -hild, ba$ely t,o, ,eepin&
piti(ully. Had his pa$ents been unable to endu$e this (loatin& ,o$ld ,hi-h is as ,a1etossed as
these $apids, and so le(t hi' he$e to ,ait out a li(e b$ie( as de,= He see'ed like a bush -lo1e$
in autu'n9s ,ind ,hi-h 'i&ht s-atte$ in the e1enin& o$ ,ithe$ in the 'o$nin&. * tossed hi'
so'e (ood ($o' 'y slee1e and said in passin&,
.a$u o kiku hito
sute&o ni aki no
kaCe ika ni
"hose ,ho listen (o$ the 'onkeys:
,hat o( this -hild
abandoned in the autu'n ,ind=
4hy did this happen= 4e$e you hated by you$ (athe$ o$ ne&le-ted by you$ 'othe$ Gou$ (athe$
did not hate you, you$ 'othe$ did not ne&le-t you. "his si'ply is ($o' hea1en, and you -an
only &$ie1e o1e$ you$ (ate.
NB' K!:3!3J
Bash9s $esponse to the abandoned baby see's ?uite -allous, and s-hola$s ha1e lon& debated
his attitude. 6 -$iti- as distin&uished as :onald Aeene has -on-luded that Tpe$haps the
si'plest e0planation is that a ,ai( by the $oadside ,as a (a$ 'o$e -o''on si&ht in Bash9s
day than in ou$ o,nU.
3
"he sea$-h (o$ the si'plest e0planation, ho,e1e$, -an be a dan&e$ous one, espe-ially ,ith a
,$ite$ as -o'ple0 as Bash. His 2ou$nals a$e not 2ou$nalis'. "hou&h the 2ou$nals a$e based on
the 2ou$neys he took th$ou&h 3apan, he alte$ed the details o( his t$a1els in o$de$ to -onst$u-t
,o$ks o( lite$atu$e. 4hat this 'eans, 4illia' 5aBleu$ has said, is that Te1e$ythin& -ounts in a
passa&e by Bash. "he$e a$e no th$o,a,ays o$ &$atuitous bits o( unassi'ilated in(o$'ationU.
K
"he -onte0t o( this passa&e a--entuates the (a-t that the passa&e -ounts. "he en-ounte$ ,ith
the baby is the 1e$y (i$st episode p$esented a(te$ the depa$tu$e s-ene and the -$ossin& o( the
initial 'ountain ba$$ie$. *t is, in a sense, the se-ond openin& o( the 2ou$nal. *n addition, the
passa&e e-hoes the T(i$stU openin& o( the 2ou$nal.
* set out on a 2ou$ney o( a thousand lea&ues, pa-kin& no p$o1isions. * leaned on the sta(( o( an
an-ient ,ho, it is said, ente$ed into nothin&ness unde$ the 'idni&ht 'oon. *t ,as the (i$st yea$
o( 3ky, autu'n, the ei&hth 'oon. 6s * le(t 'y $a'sha-kle hut by the $i1e$, the sound o( the
,ind ,as st$an&ely -old.
7oCa$ashi o
koko$o ni kaCe no
shi'u 'i kana
Blea-hed bones
on 'y 'ind, the ,ind pie$-es
'y body to the hea$t
NB' K!:3!
"he 2ou$nal be&ins ,ith the i'a&e o( blea-hed bones in a (ield, an i'a&e o( so'eone ,ho has
died by the $oadside. "he i'pa-t o( the s-ene upon Bash is b$ou&ht out by a pa$ti-ula$ poeti-
te-hni?ue. "he ,o$d kokoro he$e (un-tions as a kakekoto!a, a pi1ot,o$d that a((e-ts both
pa$ts o( the poe': the (ielde0posed bones a$e on his 'ind DkokoroE and the ,ind penet$ates
his body DmiE to his hea$t DkokoroE. 6s >&ata "suto'u has said, the poe' -o'bines the
pathos o( natu$e Dthe autu'n ,indE, hu'an pathos DdeathE, and the physi-al pain o( the -old
,ind on the body.
5
8e$tainly Bash is i'a&inin& his o,n ,hitened bones: he (o$esees the possibility that he
hi'sel( ,ill die by the $oadside and he a--epts that (ate. "his identi(i-ation o( Bash and the
bones is e'phasiCed by the (a-t that the poe' is ($a'ed by the i'a&es o( blea-hed bones and
his body. *n the p$ose se-tion, ho,e1e$, he identi(ies hi'sel( ,ith the ,ay(a$e$s o( old, in
pa$ti-ula$ ,ith the .un& dynasty 8h9an Buddhist 'onk Auan&,en D118912!3E.
!
"hus the
poe'9s i'a&e o( the bones also su&&ests othe$ t$a1elle$s ,ho ha1e died by the $oad. 4e a$e
p$esented both ,ith an i'a&e o( ,ay(a$in& as a -lassi-al ideal Bash is (ollo,in& and also
,ith an i'a&e o( death as its possibleHo$ likelyH$esult.
J
Bash $e-o&niCes and a--epts the
possibility as an inte&$al pa$t o( the ideal o( the ,ay(a$e$.
"his int$odu-to$y passa&e o( the 2ou$nal ties in -losely ,ith the abandoned baby episode.
6(te$ -$ossin& the ba$$ie$, Bash i''ediately en-ounte$s a li1in&Hand dyin&He0a'ple o(
,hat he had p$e1iously only i'a&ined. 6 t$aditional the'e in 8hinese and 3apanese poet$y
,as that o( a poet listenin& to the 'ou$n(ul -$ies o( 'onkeys, and Bash adopts and adapts
that the'e. 6s *'oto 7i-hi has said, Bash -o'bines the T(i-tionalU i'a&e o( hea$in&
'onkeys -$y ,ith the T$ealisti-U i'a&e o( en-ounte$in& the ,ail o( an abandoned baby.
8
"he
poe' thus T'o1esU in the sa'e ,ay the 2ou$nal does: the 2ou$nal 'o1es ($o' the -lassi-al and
(i-tional i'a&es o( the an-ient pil&$i's and the blea-hed bones in the openin& passa&e to the
a-tuality o( the abandoned baby, and the poe' 'o1es ($o' the -lassi-al i'a&e o( listenin& to
the 'onkeys to the a-tuality o( the -$yin& -hild.
"he poe' ends ,ith an in-o'plete ?uestion, ika ni DTho,U o$ T,hatUE, ,hi-h d$a,s the $eade$
into the poe'. 4e ha1e to -o'plete the ?uestion, and in so doin& ,e take on so'e o( the
pained 1oi-e o( the poe': ho, ,ould the an-ients (eel about this -hild, and ,hat ,ould they
do= "he poe' thus a-ts like a 1o$te0 -o'binin& the so$$o, o( the 'onkeys, the an-ient poets,
Bash, the baby and the $eade$. "o all these T-$iesU is added the bitte$ sound and -oldness o(
the autu'n ,ind.
"his i'a&e o( the -old autu'n ,ind e'phasiCes the identity bet,een Bash and the baby. *n
the openin& poe' the autu'n ,ind pie$-es Bash9s (lesh+ in this poe' the sa'e ,ind bites
into the baby9s. Bash9s &$ie( is a$oused not si'ply ($o' the $e-o&nition o( anothe$ pe$son9s
p$e-a$ious -ondition but ($o' the -lose a((inity bet,een his o,n -ondition and the baby9s.
"he idea o( death on the $oadHBash9s death as ,ell as that o( the an-ientsHis e'bodied
be(o$e hi' in the baby. .o'eday it 'ay ,ell be he ,ho is dyin& by the $oadside.
Bash9s sadness and his (eelin& o( a((inity ,ith the -hild 'i&ht 'ake it 'o$e puCClin& ,hy he
does not sa1e the -hild. He does ena-t both his -o'passion and his identi(i-ation ,ith the
-hild by th$o,in& it so'e (ood, but this is done Tin passin&U: Bash kno,s this ,ill not sa1e
the -hild. His a-tion and la-k o( a-tion has been de(ended on at least t,o &$ounds. >ne
a$&u'ent, al$eady seen in Aeene9s inte$p$etation, is that s-enes su-h as this ,e$e p$obably
-o''on in Bash9s ti'e. *'oto, (o$ instan-e, has a$&ued that peasants o( that ti'e p$a-tised
-hild abandon'ent and abo$tion be-ause o( ,idesp$ead po1e$ty.
9
6 se-ond de(ense is that
Bash9s $e2e-tion o( $esponsibility (o$ the -hild is no 'o$e -allous than ou$ o,n ne&le-t o( the
o$phans o( ou$ day. Ga'a'oto Aenki-hi has stated that those ,ishin& to -onde'n Bash (o$
not sa1in& the -hild should &i1e all thei$ 'oney to o$phana&es and 1ete$ans hospitals.
1%
Both a$&u'ents (ail to a--ount (o$ the tone and sense o( the passa&e. Bash9s p$esentation o(
the episode is -ha$&ed ,ith &$ie( (o$ the -hild and ,ith a (eelin& o( deep a((inity. His $esponse
is not 'o$al indi((e$en-e to a -o''on -ondition. *n addition, he initially p$esents the
su&&estion that the -hild9s -ondition 'i&ht be a $esult o( the di((i-ult -i$-u'stan-es o( its
pa$ents, but he -on-ludes that it is hea1en that is the -ause.
"his ans,e$ to his ?uestionsHthat the baby9s -ondition -o'es T($o' hea1enUHis ab$upt and
al'ost ellipti-al. *t see's 'o$e to $aise ?uestions than to ans,e$ the'. Be(o$e t$yin& to
inte$p$et the 'eanin& o( T($o' hea1enU, ho,e1e$, it is ,o$th,hile to ask ,hat kind o( passa&e
this is. * su&&est that this is an en-ounte$ ,ith ,hat 8li((o$d /ee$tC, (ollo,in& @a0 4ebe$,
has -alled the #$oble' o( @eanin&. /ee$tC de1elops the notion o( the #$oble' o( @eanin& in
his analysis o( $eli&ious sy'bols, and his dis-ussion helps -la$i(y the natu$e o( the passa&e:
11
"he$e a$e at least th$ee points ,he$e -haosHa tu'ult o( e1ents ,hi-h la-k not 2ust
inte$p$etations but inte$p$etabilityHth$eatens to b$eak in upon 'an: at the li'its o( his
analyti- -apa-ities, at the li'its o( his po,e$s o( endu$an-e, and the li'its o( his 'o$al
insi&ht.
Bo$ /ee$tC, these th$ee pa$ts o( the #$oble' o( @eanin&Hba((le'ent, su((e$in& and the sense
o( int$a-table ethi-al pa$ado0Ha$e (o$'s o( i'poten-e. "hey -hallen&e Tthe p$oposition that
li(e is -o'p$ehensible and that ,e -an, by takin& thou&ht, o$ient ou$sel1es e((e-ti1ely ,ithin
it VU
12
6s /ee$tC notes, 'ode$n anth$opolo&ists ha1e (o-used on su((e$in& and ethi-al pa$ado0.
13
*n
this pape$ * ,ill do the sa'e. 6 -lose $eadin& o( /ee$tC9s dis-ussion o( these t,o aspe-ts
$e1eals that ea-h -an be di1ided into t,o pa$ts. "he e'otional p$oble' in the #$oble' o(
@eanin& Dthe se-ond pa$t 'entioned abo1eE -onsists o( both ho, to &i1e p$e-ision to one9s
(eelin&s and ho, to endu$e those (eelin&s and the ,o$ld.
1K
;'otional i'poten-e, then,
in1ol1es ,hat ,e -an -all pe$-eptual and p$a-ti-al aspe-ts: the inability to (eel ,ith so'e
o$de$ o$ de(inition and the inability to endu$e one9s su((e$in&. *(, in ou$ e0pe$ien-e o( $eality,
,e -annot (eel ,ith p$e-ision o$ endu$an-e, then the$e is e'otional -haos.
.i'ila$ly, the thi$d pa$t o( the #$oble' o( @eanin&, 'o$al i'poten-e, is t,o(old. ;thi-al
pa$ado0 is (ound both in the p$oble' o( 'akin& 'o$al sense out o( a situation and also in
(indin& so'e no$'ati1e &uides to &o1e$n ou$ a-tion.
15
"hus the 'o$al p$oble' in the #$oble'
o( @eanin& also has pe$-eptual and p$a-ti-al aspe-ts: the p$oble's o( ho, to inte$p$et the
ethi-al natu$e o( situations and ho, to a-t 'o$ally. *( the ,o$ld is su-h that ,e -annot do
these thin&s, the$e is ethi-al -haos.
"his double natu$e o( the e'otional and 'o$al aspe-ts o( the #$oble' o( @eanin& is $e(le-ted
in /ee$tC9s notion o( $eli&ion:
1!
Reli&ious patte$ns su-h as those * ha1e been dis-ussin& thus ha1e a double aspe-t: they a$e
($a'es o( pe$-eption, sy'boli- s-$eens th$ou&h ,hi-h e0pe$ien-e is inte$p$eted+ and they a$e
&uides (o$ a-tion, bluep$ints (o$ -ondu-t.
Bo$ /ee$tC, $eli&ion is that pa$t o( -ultu$e ,he$e the pe$-eptual and p$a-ti-al aspe-ts o( li(e
be-o'e $e(le0i1e. "he $eli&ious pe$spe-ti1e, he says, Tis the -on1i-tion that the 1alues one
holds a$e &$ounded in the inhe$ent st$u-tu$e o( $eality, that bet,een the ,ay one ou&ht to li1e
and the ,ay thin&s $eally a$e the$e is an unb$eakable inne$ -onne-tionU.
1J
Reli&ion, then, is
that ,hi-h p$o1ides Tthe settled sense o( 'o1in& ,ith the deepest &$ain o( $ealityU.
18
.i'ila$ly, the e'otional and 'o$al aspe-ts o( the #$oble' o( @eanin& -onsist o( the p$oble'
o( ho, to &$ound ou$ (eelin&s and ou$ ethi-s in the natu$e o( $eality. ;'otions and ethi-s a$e
'eanin&(ul in so (a$ as they $e(le-t and tie into the (ab$i- o( the uni1e$se. Bo$ the $eli&ious
pe$son the ,o$ld has an e'otional teno$ and 'o$al st$u-tu$e, and the #$oble' o( @eanin& is
ho, to an-ho$ ou$ (eelin&s and ethi-s into the'.
19
/ee$tC dis-usses the ethi-al aspe-t o( the #$oble' o( @eanin& in te$'s o( the t$aditional
notions o( &ood and e1il. But -e$tain passa&es in /ee$tC su&&est that the p$a-ti-al aspe-t is
b$oade$ than that. "he p$oble' o( p$o1idin& Tno$'ati1e &uides to &o1e$n ou$ a-tionU &oes
beyond ?uestions o( &ood and e1il. T"he ,ay one ou&ht to li1eU in-ludes, (o$ instan-e, li(e
style and 1o-ation, ,hethe$ it be a 'onk, sa&e o$ sha'an.
2%
"he #$oble' o( @eanin& is at
,o$k he$e too: i( it is not possible to dis-o1e$ an unb$eakable inne$ -onne-tion bet,een one9s
&ene$al and (unda'ental 'ode o( li(e and the ,ay thin&s $eally a$e, then the ,o$ld doesn9t
'ake sense.
21
"he #$oble' o( @eanin&, then, in1ol1es ho, to (eel, ho, to endu$e one9s
su((e$in&, ho, to inte$p$et the ethi-al -ha$a-te$ o( the ,o$ld, and ho, to a-t and to o$ient ou$
li1esHall in -on-e$t ,ith the essential natu$e o( $eality.
Bash9s en-ounte$ ,ith the abandoned baby is an en-ounte$ ,ith all (ou$ o( these aspe-ts o(
the #$oble' o( @eanin&, but this (a-t e'e$&es only ,hen ,e in1esti&ate his eni&'ati-
$e(e$en-es to hea1en. ",o inte$$elated sy'bols that do'inate his t$a1el 2ou$nals (o$' the
-onte0t (o$ his notion o( hea1en: i'pe$'anen-e Dmu&/E and the 2ou$ney. "he notion o( mu&/
has had a lon& histo$y in 3apanese -ultu$e and the$e ha1e been 'any, ?uite di((e$ent
de1elop'ents o( this sy'bol.
22
*ndeed, it is p$obably 'o$e a--u$ate to talk o( 'any mu&/9s in
3apanese -ultu$e $athe$ than one. *t is not su$p$isin& that a ,$ite$ as -o'ple0 as Bash
de1elops se1e$al distin-t mu&/9sH'o$e than ,e -an dis-uss he$e.
>ne o( the 'ost -o''on and p$i'a$y ele'ents (ound in his (o$'ulations o( mu&/, ho,e1e$,
is the i''inen-e o( death. *n his 2ou$nal A Visit to $arashina Village D$arashina ik/E, Bash
&$aphi-ally depi-ts this idea. He and his -o'panions a$e 'akin& a steep -li'b to the 1illa&e
o( .a$ashina ,ith Bash on ho$seba-k. >ut o( pity (o$ a 'onk ,ho is bu$dened ,ith an
e0t$e'ely hea1y load, his -o'panions pile the 'onk9s bundles onto Bash9s ho$se. Bash is
le(t on top o( these bundles, teete$in& on an un-e$tain 'ount as the 'ountain path na$$o,s:
>1e$head hi&h 'ountains and st$an&e peaks hun& in laye$s. >n 'y le(t a &$eat $i1e$ (lo,ed+
belo, ,as a p$e-ipi-e that see'ed to d$op a thousand (eet. "he$e ,as not a sin&le pie-e o(
le1el &$ound, and * ,as te$$i(ied to be in the saddle. "he (ea$ si'ply ,ould not lea1e.
NB' K!:!!
Bash de-ides the situation is too 'u-h (o$ hi' and dis'ounts. 6 se$1ant, ho,e1e$, has no
su-h (ea$s and p$o'ptly takes Bash9s pla-e.
4e passed th$ou&h Aakehashi and 7eCa'e, then .a$u&ababa and "a-hit&e o( the TBo$ty
ei&ht "u$nin&s.U "he t$ail ,ound a$ound as i( on a path,ay to the -louds. ;1en on (oot * ,as
diCCy and shaken, 'y le&s t$e'blin&, yet the se$1ant sho,ed no si&ns o( (ea$ and kept doCin&
on top o( the ho$se. @any ti'es * thou&ht he ,ould su$ely (all+ * ,as te$$i(ied as * looked up
($o' behind. /aCin& upon the sentient bein&s o( this t$ansito$y ,o$ld, the 5o$d Buddha 'ust
(eel the sa'e. 4hen ,e $e(le-t upon the un$e'ittin& s,i(tness o( -han&e, ,e -an see ,hy it is
said: Tthe ,hi$lpool o( 6,a is ($ee o( ,ind and ,a1es.U
NB' K!:!!!J
"he $e(e$en-e to the ,hi$lpool o( 6,a de$i1es ($o' a popula$ Buddhist poe': T8o'pa$ed to
ou$ 2ou$ney th$ou&h this ,o$ld, the ,hi$lpool o( 6,a is ($ee o( ,ind and ,a1esU.
23
5i(e is
tu$bulent, -han&e is ine0o$able and s,i(t, but in pa$ti-ula$ ,e a$e all like the se$1ant, $idin&
p$e-a$iously on the ed&e o( death.
"he i''inen-e o( death is not a 'o'enta$y -i$-u'stan-e that o--u$s ($o' ti'e to ti'e. *t is
an essential -ha$a-te$isti- o( hu'an li(e. Bash9s des-ent ($o' the teete$in& 'ount is i$oni-:
he &ets do,n be-ause o( the 1e$ti&o he (eels at bein& so -lose to (allin&, yet he $ealiCes in the
end that the -ondition o( i''inent death in a t$ansito$y ,o$ld de(ines the 1e$y natu$e o(
hu'an e0isten-e. >ne -annot es-ape that -ondition as one -an dis'ount ($o' a ho$se.
*ndeed, Bash delibe$ately atte'pted both to sy'boliCe and to e0pose hi'sel( to this
-ondition in the li(e o( a ,ande$e$. "he openin& o( 'he Narro7 .oa* to the Deep North DOku
no Hosomi1hiE de(tly (uses the sy'boli- and the physi-al, the essential and the 1olunta$y
aspe-ts o( the 2ou$ney.
@onths and days a$e the ,ay(a$e$s o( a hund$ed &ene$ations, the yea$s too, &oin& and -o'in&,
a$e ,ande$e$s. Bo$ those ,ho d$i(t li(e a,ay on a boat, (o$ those ,ho 'eet a&e leadin& a ho$se
by the 'outh, ea-h day is a 2ou$ney, the 2ou$ney itsel( ho'e. 6'on& an-ients, too, 'any died
on a 2ou$ney. 6nd so * tooH(o$ ho, 'any yea$sHd$a,n by a -loud ,isp ,ind, ha1e been
unable to stop thou&hts o( $a'blin&. * $oa'ed the -oast, then last (all b$ushed -ob,ebs o(( the
$i1e$ hut. "he yea$ too &$adually passed, and ,ith sky o( sp$in&9s $isin& 'ist -a'e thou&hts o(
-$ossin& the .hi$aka,a ba$$ie$.
NB' K!:J%
"i'e, in the (o$' o( days, 'onths, and yea$s, is itsel( a ,ay(a$e$, and hu'an li(e as a ,hole
and e1e$yday ,ithin it is a 2ou$ney.
>ne -an, ho,e1e$, -hoose to $e(le-t and e0pose onesel( to this -ondition by physi-ally leadin&
a 2ou$ney li(e. "he$e is i$ony also in the senten-e T6'on& an-ients, too, 'any died on a
2ou$neyU. *( T2ou$neyU is the essential, ines-apable -ondition o( hu'an li(e, then e1e$yone Tdies
on a 2ou$neyU. But the an-ients e'bodied that -ondition by leadin& ,ande$in& li1es, and this
is ,hat Bash does. "he ,o$d T2ou$neyU thus a-ts so'e,hat as a kakekoto!a does in 3apanese
poet$y. "he ,o$d T2ou$neyU be(o$e this senten-e $e(e$s to the essential -ondition o( hu'an
bein&s, and a(te$ this senten-e it $e(e$s to Bash9s a-tual ,ande$in&s th$ou&h 3apan. *n this
senten-e, ho,e1e$, the ,o$d has both 'eanin&s.
Bash thus sou&ht a li(e in ,hi-h his ,ay o( li(e and his unde$standin& o( the (unda'ental
natu$e o( $eality ,e$e -losely inte$,o1en. #ut in /ee$tC9s te$'s, bet,een the ,ay one ou&ht to
li1e and the ,ay thin&s $eally a$e the$e ,as, (o$ Bash, an unb$eakable inne$ -onne-tion. His
1ie, o( the st$u-tu$e o( $eality and his p$o&$a''e (o$ hu'an -ondu-t ,e$e 'e$e $e(le0es o(
ea-h othe$ and the $esult ,as a settled sense o( 'o1in& ,ith the deepest &$ain o( $eality.
2K
"o $etu$n no, to the abandoned baby in the Nozarashi ik/, Bash has t,o sou$-es (o$ his
a-tion o( lea1in& the baby by the $oadside. Bi$st, the baby9s -ondition o( bein& like a bush
-lo1e$ that ,ill soon s-atte$ o$ ,ithe$ is an ines-apable one. 4hen he 'eets the baby -$yin&
by the $oadside he is initially puCCled that a -hild -ould be in su-h a situation. But as in the
episode o( the teete$in& ho$se he $ealiCes that the -ondition o( bein& on the ed&e o( death is
p$e-isely T($o' hea1enU, the (unda'ental -ondition o( all li(e at all ti'es. .e-ond, in &oin& on
the 2ou$ney Bash had -ons-iously de-ided to seek out (o$ hi'sel( the 1e$y -ondition the baby
is in: e0posu$e not only to the ele'ents Dthe autu'n ,ind o( both the $aru o kiku and o( the
Nozarashi o poe'sE but also the i''inen-e o( death. Bash thus unde$stands the -hild9s
-ondition as bein& neithe$ absu$d no$ a--idental but as e0pli-able in te$'s o( the basi- natu$e
o( $eality: li(e is i'pe$'anent and is a 2ou$ney upon ,hi-h one ,ill die.
Bash ne1e$ e0pli-itly ans,e$s the ?uestion that is i'plied in the poe', the p$oble' o( ho,
e'otionally to $espond to the baby9s su((e$in&. "he passa&e does p$esent, ho,e1e$, t,o types
o( e'otions that -onstitute Bash9s o,n $esponse to this ?uestion: -o'passionate so$$o, (o$
so'eone in a sha$ed -ondition, and $esi&nation to that -ondition and its su((e$in&. "he
(eelin&s o( -o'passion and a--eptan-e $e(le-t the natu$e o( $eality: the -o''unal and
ines-apable -ondition o( bein& on a 2ou$ney and on the ed&e o( death. "hus the sy'bols o(
mu&/ and the 2ou$ney and the $elated sy'bol o( hea1en p$o1ide, in /ee$tC9s te$'s, a -os'i-
&ua$antee (o$ the ability to &i1e de(inition to e'otions, e1en in a situation as e0t$e'e as this.
Be-ause o( the pe$-ei1ed pe$1asi1eness and ulti'ateness o( i'pe$'anen-e and the 2ou$ney,
Bash -an $ea-t to the -hild9s dist$ess not ,ith a s,i$l o( e'otions but e'otions that (it ,ith
the -ha$a-te$ o( the uni1e$se: -o'passion and $esi&nation.
"he a((e-ti1e aspe-t o( the #$oble' o( @eanin& in1ol1es the ability not only to (eel su((e$in&
,ith p$e-ision but also to endu$e that su((e$in&. 6s /ee$tC puts it, $eli&ious sy'bols 'ust
a((i$' the Tulti'ate su((e$ablenessU o( the ,o$ld.
25
6s a $eli&ious p$oble', the p$oble' o( su((e$in& is, pa$ado0i-ally, not ho, to a1oid su((e$in&
but ho, to su((e$, ho, to 'ake o( physi-al pain, pe$sonal loss, ,o$ldly de(eat o$ the helpless
-onte'plation o( othe$s9 a&ony so'ethin& bea$able, suppo$tableHso'ethin&, as ,e say,
su((e$able.
Bash -an bea$ to -onte'plate the baby9s su((e$in& be-ause he $e-o&niCes in it the
'ani(estation o( the uni1e$sally sha$ed -ondition o( hu'an e0isten-e. He t$ies to 'ake the
baby9s su((e$in& su((e$able by the t,o a-ts o( &i1in& it (ood and tellin& it ,hy it is su((e$in&.
"he (ood -ould b$in& the baby only te'po$a$y $elie(, the ,o$ds none at all. But the a-tions a$e
po$t$ayed as sin-e$e, spontaneous a-ts o( -o'passion, and they -o''uni-ate to the $eade$
Bash9s 1ie, that the baby9s su((e$in& is neithe$ isolated no$ absu$d. 6$isin& out o( the 1e$y
natu$e o( the uni1e$se, the su((e$in& is sha$ed by all.
*t is inte$estin& to note ,hat happens to the notion o( T'o$alU in Bash9s $esponse to the
#$oble' o( @eanin&. Bo$ /ee$tC, the #$oble' o( @eanin& p$o1ides a 'o$al st$u-tu$e by
Ta((i$'in&, o$ at least $e-o&niCin&, the ines-apability o( i&no$an-e, pain, and in2usti-e on the
hu'an plane ,hile si'ultaneously denyin& that these i$$ationalities a$e -ha$a-te$isti- o( the
,o$ld as a ,holeU.
2!
He$e, as else,he$e, /ee$tC see's to identi(y $ationality and 2usti-e Da
tenden-y datin& ba-k to .o-$atesE. Bo$ /ee$tC, the only alte$nati1e to 'o$al -haos see's to be
a ,o$ld in ,hi-h e1ents a$e meaningful D&$ounded in the basi- (ab$i- o( $ealityE and also tied
to an o1e$$idin& moral o$de$. But these a$e t,o sepa$able aspe-ts o( the #$oble' o( @eanin&.
"he (i$st aspe-t yields the ?uestion: is the ,o$ld a 'o$al eni&'a o$ -an ,e dis-o1e$ the $eason
(o$ su((e$in& and e1il and ho, they a$e $elated to the natu$e o( $eality= "he se-ond aspe-t
yields the ?uestion: is the &ood so'eho, p$ese$1ed, is &ood $e,a$ded and e1il punished, as in
the t$aditional notions o( hea1en and hell and ka$'a=
/ee$tC does not see' to -onside$ the possibility o( an o$de$ed, unde$standable ,o$ld that is
a'o$al. 6 ,o$ld that e0hibits kno,able p$in-iples into ,hi-h indi1idual e1ents -an be
&$ounded is not -haoti- but 'eanin&(ul in /ee$tC9s sense o( the te$'. Get this (a-t does not
entail that the ,o$ld is 'o$al.
Bash9s $esponse to the abandoned baby see's to su&&est an a'o$al o$de$. Bo$ Bash the$e
does not see' to be -os'i- p$ote-tion o( inno-en-e o$ the &ood+ the ,o$ld is su-h that an
inno-ent -hild -an be le(t to su((e$ and die. 7o $et$ibution sets thin&s $i&ht, no$ is the$e anyone
to bla'e. Get the$e is no 'o$al -haos. "he ,o$ld is not $uled by ,hi'+ it 'ani(ests
identi(iable p$in-iples by ,hi-h e1en su-h an e0t$e'e situation as the abandoned baby -an be
e0plained and a--epted.
Had Bash sho,ed -o'passion (o$ and $esi&nation to the baby9s pli&ht ,ithout ans,e$in& his
initial puCCle'ent, the passa&e ,ould ha1e been 'e$ely an e0a'ple o( a--o''odation to
'o$al -haos. But Bash dis-e$ns in the baby9s su((e$in& $e-o&niCable uni1e$sal p$in-iples o(
the uni1e$se. "he ,o$ld as a ,hole is not i$$ational+ the$e is no -haos.
But do these p$in-iplesHmu&/ and the 2ou$neyH-onstitute a moral st$u-tu$e= Bash9s
uni1e$se see's 'o$ally indi((e$ent: indi1iduals su((e$ ($o' i'pe$'anen-e in 1a$ious de&$ees
and at 1a$ious points in thei$ li1es ,ithout $e&a$d to thei$ 'o$al &uilt o$ inno-en-e. "he
st$u-tu$e see's to be a'o$al, not 'o$al+ the ,o$ld 'ay be 'eanin&(ul, but it see's un2ust.
*n Bash9s 2ou$nals, ho,e1e$, this in2usti-e and 'o$al indi((e$en-e a$e substantially 'iti&ated.
*n depi-tin& the uni1e$sal -ha$a-te$ o( mu&/ and the 2ou$ney, Bash st$esses the -o''unal
natu$e o( the -ondition. Bash9s 2ou$nals do not p$esent $esi&nation to sha$ed 'ise$y but an
a((i$'ation o( -o''unity and the li(e li1ed ,ithin it. "he bond bet,een Bash, the baby, the
an-ients and the ho$se&uideHand the 'onths and daysHis both ,holly &ood and pa$t o( the
(unda'ental (ab$i- o( the uni1e$se. "hus Bash9s $e-o&nition o( mu&/ and e1en the su((e$in&s
it -auses leads (inally not to -on(usion and despai$, o$ &$i' $esi&nation, but to the -eleb$ation
o( li(e. :espite the 1i-issitudes o( the 2ou$neyli(e, the -o''unity -ontinues and as su-h the
,o$ld is (unda'entally ,hole and sound. *n this sense the ,o$ld is not un2ust, (o$ all people
e0ist in a -o''unity and sha$e the sa'e -ondition. *n this sense the ,o$ld has a p$onoun-ed,
i( -o'ple0, 'o$al st$u-tu$e.
6 1e$y di((e$ent kind o( s-ene in a 'u-h late$ ,o$k, 'he Narro7 .oa* to the Deep North,
su&&ests the sa'e 'o$al st$u-tu$e and sense o( -o''unity.
"oday ,e 'ade ou$ ,ay th$ou&h the 'ost p$e-a$ious pa$ts o( the no$th -ount$y, pla-es su-h
as <nseen #a$ents, <n,at-hed 8hild, "u$nedba-k :o&, Ret$eatin& Ho$se. 6t ni&ht,
e0hausted, * sou&ht out a pillo, and ,as nea$ to sleep ,hen * hea$d the 1oi-es o( t,o youn&
,o'en in the ($ont, one $oo' a,ay. "he 1oi-e o( an old 'an 'in&led ,ith thei$s. B$o' ,hat
* -ould hea$ they ,e$e -ou$tesans ($o' a pla-e -alled 7ii&ata in ;-hi&o on thei$ ,ay to
,o$ship at the *se .h$ine. "he old 'an had seen the' o(( as (a$ as this ba$$ie$ and they had
,$itten lette$s and b$ie( notes (o$ hi' to take ba-k to thei$ 1illa&e in the 'o$nin&.
6t one point * hea$d these ,o$ds: T8ast ad$i(t on the bea-h ,he$e the ,hite ,a1es b$eak,
dau&hte$s o( the sho$e, ,e ha1e (allen to a ,$et-hed li(e. ;a-h ni&ht the$e a$e the (leetin&
pled&es o( lo1e+ ,hat sha'e(ul ka$'a do ,e -a$$y ($o' ou$ past days=U >n they talked, and *
d$i(ted to sleep.
*n the 'o$nin& as ,e set o((, they -a'e pleadin& to us ,ith tea$s (allin&. T4e don9t kno,
,hi-h ,ay to &o on this so$$o,(ul $oad, ,e a$e so ,o$$ied and upset, -ould ,e (ollo, you$
(ootsteps ($o' o(( in the distan-e= By the 'e$-y o( you$ $obes, &$ant us the blessin& o( you$
&$eat -o'passion and ,e ,ill be bound to the Buddha.U T*t is un(o$tunateU, * said, Tbut ,e a$e
al,ays stoppin& he$e and the$e. 3ust ent$ust you$sel( to the ,ay othe$s a$e &oin&. .u$ely the
&ods ,ill p$ote-t you ($o' ha$'.U 4ith these ,o$ds ,e le(t the' behind, but (o$ a ti'e the
pity o( thei$ situation ,ould not lea1e 'e.
Hitotsu ya
yQ2o 'o neta$i
ha&i to tsuki
*n the one house
8ou$tesans, too, slept:
Bush -lo1e$ and 'oon
* $e-ited this to .o$a, and he ,$ote it do,n.
2J
NB' K!:912
"he basi- si'ila$ities bet,een this episode and that o( the abandoned baby episode a$e
ob1ious. 5ike the baby, the -ou$tesans a$e lo-ked into a bitte$ly pain(ul situation. Bash is
-on($onted ,ith thei$ (ate and thei$ tea$s and, as in the othe$ passa&e, he sho,s -o'passion
and $e'o$se. He also lea1es the' in thei$ &$ie(. :i((e$en-es bet,een the t,o passa&es,
thou&h, a$e also appa$ent. "he -ou$tesans a$e adults, and they -e$tainly do not ha1e the baby9s
inno-en-e. *n the -ou$tesan passa&e, Bash does not see' to &i1e an e0pli-it inte$p$etation o(
the basis and natu$e o( thei$ -i$-u'stan-e. *nstead, the -ou$tesans &i1e thei$ o,n
inte$p$etation: thei$ (ate is a $esult o( ka$'a.
4hat is thei$ situation= *n pa$t they (eel lost and helpless on thei$ pil&$i'a&e to *se. "hei$
(ello, 1illa&e$ is $etu$nin& ho'e, and they (eel in despe$ate need o( so'eone to &uide the'
on thei$ ,ay. Be-ause Bash appea$s to be a 'onk t$a1ellin& to *se, they belie1e and hope
that he ,ill sho, the' -o'passion and help the' (ind thei$ ,ay.
"he$e is, o( -ou$se, 'o$e to the -ou$tesans9 tea$s than thei$ an0iety about t$a1ellin& alone to
*se. "he -on1e$sation Bash o1e$hea$d the ni&ht be(o$e 'akes -lea$ thei$ &$eat dist$ess about
Tha1in& (allen to a ,$et-hed li(eU. "hei$ &$ie( and an0iety -on-e$ns not 'e$ely the ,ay to *se
but also thei$ ,ay o( li(e: the Tso$$o,(ul $oadU they a$e lost on is thei$ li(e as ,ell as the $oad
to *se. He$e too Bash see's to be a possible sou$-e o( aid, an oppo$tunity to b$eak out o( the
,$et-hedness o( thei$ li1es. "o unde$stand this, ho,e1e$, ,e need to dis-uss one o( the 'a2o$
the'es o( this passa&e: $elationships.
28
"he$e a$e th$ee p$i'a$y types o( $elationships 'entioned in the passa&e. "he (i$st is the
-ou$tesans9 se0ual $elationships, -ha$a-te$iCed by T(leetin& pled&es o( lo1eU Dsa*amenaki
1higiriE. "hei$ li(e is thus (illed ,ith i'pe$'anent and 1ul&a$ $elationships. "o this is opposed
a se-ond type o( $elationship, a ke1hien, a te$' t$anslated he$e as Tbound to the BuddhaU. 6
ke1hien $e(e$s to a -onne-tion to the Buddha 'ade by an aspi$ant in o$de$ to aid in the
attain'ent o( Buddhahood. "his type o( $elationship is the e0a-t opposite o( the T(leetin&
pled&es o( lo1eU be-ause it is both pe$'anent and spi$itual. "he -ou$tesans, it see's -lea$,
hope to establish this kind o( $elationship as an alte$nati1e to thei$ (leetin& pled&es o( lo1e and
in so doin& b$eak the total &$asp that mu&/ and the 1ul&a$ ,o$ld ha1e on thei$ li1es. *n this
,ay the bla-k$obed Bash see's to the' to be an oppo$tunity to a-hie1e $elease ($o' the
,$et-hedness o( the (leetin&, (loatin& ,o$ld.
*n his 1e$y te$se $eply, Bash $e(uses to help the' b$in& about this ke1hien( *ndeed, he see's
to deny that the ,o'en ha1e any p$oble' at all. He does, ho,e1e$, en-ou$a&e the' to
establish a thi$d type o( $elationship: ent$ustin& the'sel1es to Tthe ,ay othe$s a$e &oin&U. "he
si&ni(i-an-e o( this $eply be&ins to e'e$&e ,hen ,e -onside$ a se-ond the'e o( this passa&e,
the idea o( a ,ay. ;'bedded in the -ou$tesans9 state'ent Bash o1e$hea$d du$in& the ni&ht is
an allusion to an anony'ous -lassi-al poe':
29
.hi$ana'i no
yosu$u na&isa ni
yo o tsukusu
a'a no ko na$eba
yado 'o sada'eCu
*( * ,e$e a
dau&hte$ o( the sho$e
,ho li1es out he$ li(e on the bea-h
,he$e the ,hite ,a1es b$eak,
'y d,ellin& too ,ould be (leetin&.
"he use o( the ph$ases shiranami no yosuru nagisa ni Don the bea-h ,he$e the ,hite ,a1es
b$eakE and ama no ko Ddau&hte$s o( the sho$eE by the -ou$tesans in thei$ -on1e$sation 'akes
the allusion to this poe' a 1e$y di$e-t one. "he ,o$ds o( the -ou$tesans, ho,e1e$, di((e$ ($o'
those o( the o$i&inal poe'. *nstead o( the ph$ase yo o tsuku DT,e li1e out ou$ li1esU on the
bea-h ,he$e the ,hite ,a1es b$eakE, the -ou$tesans in Bash9s passa&e use the te$'
h/rakashi( "his te$' 'eans to TabandonU, T,ande$U and Tbe ,$et-hedU Din 'y t$anslation it
has be-o'e T-ast ad$i(tUE. "his -han&e depi-ts the li1es o( the -ou$tesans as unpleasant
d$i(tin&. *n o$de$ to a1oid this -ondition o( bein& ai'less ,ande$e$s, they ha1e e'ba$ked on a
pil&$i'a&e ,ith a spe-i(i- destination and &oal, *se. "hey ,ant Bash to help the' stay on
thei$ -ou$se and $ea-h the end o( thei$ pil&$i'a&e.
Bash $e2e-ts this plea and he $e2e-ts the ideal e'bodied in it as ,ell. His $eason (o$ not
&uidin& the' is also a des-$iption o( a type o( 2ou$ney 1e$y di((e$ent ($o' a pil&$i'a&e to *se.
Bash9s 2ou$ney has no spe-i(i- &oal o$ end, Tal,ays stoppin& he$e and the$eU. *t is, in (a-t,
1e$y si'ila$ to the -ondition that the -ou$tesans a$e t$yin& to es-ape, ,ith one 'a2o$
e0-eption: Bash a--epts the -ondition. "his is not to say Bash ne1e$ e0pe$ien-es (ea$ o$
(ati&ue+ the openin& o( the passa&e (un-tions p$e-isely to sho, ho, dan&e$ous and e0haustin&
his 2ou$ney -an be. Get he (eels no (unda'ental dist$ess at bein& a &uideless ,ande$e$. *t is in
(a-t a -ondition that he has -ons-iously sou&ht.
*n this li&ht, Bash9s $athe$ -u$t $eply has a double 'eanin&. *n one sense his ans,e$ is utte$ly
p$a&'ati-: i( you a$e headin& to,a$ds *se and don9t kno, the ,ay, ask anyone &oin& the$e to
help you. Bash hi'sel( enlisted su-h sho$t te$' &uidan-e du$in& his 2ou$neys. "o the si'ple
p$oble' o( (indin& thei$ ,ay to *se, Bash &i1es a si'ple ans,e$.
"o thei$ deepe$ p$oble' o( (indin& thei$ ,ay th$ou&h li(e, Bash has the sa'e ans,e$ but
,ith a 'o$e subtle 'eanin&. "he 3apanese lite$ally $ead ta*a hito no yuku ni makasete
yuku!eshi, T2ust &o, ent$ustin& you$sel( to the &oin& o( othe$sU. "he T&oin& o( othe$sU, Bash
has told us at the be&innin& o( this 2ou$nal, is to be on a 2ou$ney, an endless 2ou$ney in ,hi-h
,e a$e al,ays e0posed to mu&/( *n his o,n li(e he sou&ht to open hi'sel( to and e'body ,hat
he sa, to be the basi- natu$e o( li(e, an endless 2ou$ney -ha$a-te$iCed by i'pe$'anen-e. *n a
1e$y $eal sense, the -ou$tesans ha1e asked hi' to help the' a1oid these aspe-ts o( li(e: they
seek a pe$'anen-e o( $elationship, a ke1hien, -ut o(( ($o' the (leetin&, 1ul&a$ ,o$ld and they
seek to -han&e thei$ d$i(tin& into a pil&$i'a&e ,ith a &oal and end. Bash $e(uses to help
the'. *nstead, he ad1ises the' to a--ept the uni1e$sal T&oin&U o( othe$s: the 2ou$neyness o(
li(e and its i'pe$'anen-e. He does not t$y to dissuade the' ($o' &oin& to *seHBash
hi'sel( 'ade pil&$i'a&es o( this kindHbut the ,o$ds he uses su&&est that thei$ pil&$i'a&e
,ould best be pa$t o( an endless 2ou$ney. *n so doin&, they -an a-hie1e the $elationship Bash
o((e$s as an alte$nati1e to a ke1hien: sha$in& ,ith all othe$s the (unda'ental -ondition o( li(e.
* p$e1iously su&&ested that at (i$st &lan-e Bash see's to be $e2e-tin& the idea that the ,o'en
ha1e a p$oble' at all. 6t se-ond &lan-e the sa'e point holds. Bash a--epts the -ou$tesans9
1ie, that thei$ li(e is -ha$a-te$iCed by i'pe$'anen-e and a 2ou$ney ,ithout &uide o$ &oal. But
he unde$stands it not as a p$oble' $esultin& ($o' ka$'i- $et$ibution but as the uni1e$sal
-ondition o( li(e $e(le-tin& the (unda'ental -ha$a-te$ o( e0isten-e. *'pe$'anen-e is not a
p$oble' to a1oid but is a (a-t to T$ealiCeU both in one9s inte$p$etation o( li(e and in one9s ,ay
o( li(e.
>ne $esult o( Bash9s 1ie, o( li(e is the blu$$in& o( the distin-tion bet,een the -ou$tesans and
hi'sel(. "his notion -an be seen espe-ially in a thi$d the'e o( this passa&e, the house o$ inn.
"his te$' (i$st appea$s in a $athe$ indi$e-t ,ay in the -ou$tesans9 allusion to the poe' -ited
p$e1iously. "he -ou$tesans 'ake the state'ent that thei$ li(e is -ha$a-te$iCed by pled&es that
a$e sa*amenashi: un-e$tain, unstable, (leetin&. *n the poe', the Tdau&hte$s o( the sho$eU li1e
in houses that a$e sa*amezu:
3%
te'po$a$y d,ellin&s. "he allusion e0pands the -ou$tesans9
state'ent: kno,in& the -lassi-al poe' ,e a$e 'ade to think o( the -ou$tesans9 li(e as
-ha$a-te$iCed by i'pe$'anent d,ellin&s as ,ell as i'pe$'anent 1o,s.
"he the'e o( the i'pe$'anent d,ellin& is a $i-h one in 3apanese -ultu$e. 4illia' 5aBleu$
has analysed in detail this the'e in te$'s o( the lite$a$y topoi o( the he$'it9s hut and the
t$a1elle$9s inn.
31
4hat is i'po$tant (o$ this dis-ussion is that the$e ,e$e t$aditional
asso-iations bet,een the notions o( the t$a1elle$9s inn and -ou$tesans and also bet,een these
t,o notions and mu&/( "he t$a1elle$9s inn ,as a pla-e o( both te'po$a$y stays and te'po$a$y
$elationships be-ause the t$a1elle$ -ould o(ten $ent a y0&o, o$ Tplay&i$lU, alon& ,ith a $oo'.
"he lo1us 1lassi1us o( this the'e is a pai$ o( poe's by the p$iest poet .ai&y D1118119%E
,hi-h take the (o$' o( a dialo&ue bet,een .ai&y and a -ou$tesan.
32
>n the ,ay to the te'ple -alled "enn2i, * &ot -au&ht in the $ain. *n the a$ea kno,n as
;&u-hi * asked at one pla-e (o$ a ni&ht9s lod&in&. 4hen $e(used, * $eplied as (ollo,s:
yo no naka o
itou 'ade koso
kataka$a'e
ka$i no yado$i o
oshi'u ki'i kana
*t is ha$d, pe$haps,
"o hate and pa$t ,ith the ,o$ld+
But you a$e stin&y
;1en ,ith the ni&ht * ask o( you,
6 pla-e in you$ soonle(t inn.
"he $esponse by a T,o'ano(playU:
ie o iCu$u
hito to shi kikeba
ka$i no yado ni
koko$o to'una to
o'ou baka$i Co
*t9s be-ause * hea$d
Gou9$e no lon&e$ bound to li(e
6s a householde$
"hat *9' loath to let you &et atta-hed
"o this inn o( b$ie(, bou&ht stays.
6s 5aBleu$ has noted, the (i$st poe' -ente$s on the the'e o( $elin?uish'ent. 6s a 'onk he
has abandoned the ,o$ld, so the ,o'an ou&ht to $elin?uish the $oo'Hand he$sel(H(o$ the
ni&ht. He$ $e(usal, 5aBleu$ points out,
33
is not due to a la-k o( libe$ality but be-ause she is -on-e$ned (o$ his lon&$an&e ,el(a$e. .in-e
he has adopted a 1o-ation unde$stood to be in ha$'ony ,ith mu&/Hthat is, has le(t o(( bein& a
householde$Hshe doesn9t ,ish to see hi' lose his ($eedo' by be-o'in& Tatta-hedU to the
house. "he keen ed&e o( he$ $eto$t lies in the i'pli-ation that, althou&h all houses a$e
te'po$a$y and -annot ulti'ately be TheldU by anyone, he$s, as an inn Db$othelE, is espe-ially a
pla-e o( b$ie( stays.
"he notion o( the inn is based on the double si&ni(i-an-e o( kari no, a 'odi(ie$ that 'eans
both Tte'po$a$yU and T$entedU.
3K
"he idea is that the inn Db$othelE 'akes 'ani(est the t$uth about all housesHthe TieU ,ith
,hi-h the ,o'an9s poe' be&ins. *t di1ul&es the t$uth o( the (unda'ental
i'pe$'anen-eRinstability that is, in $eality, -ha$a-te$isti- o( the' all.
"his pai$ o( poe's &a1e $ise to a 'a&ni(i-ent 7 play by Aan9a'i D1333138KE entitled
6gu1hi(
35
"he play p$esents a t$a1ellin& 'onk ,ho -o'es a-$oss the &$a1e o( the -ou$tesan o(
the .ai&y poe's. 6 ,o'an appea$s at the s-ene and late$ ,e (ind out that she is the spi$it o(
the -ou$tesan. "he the'e o( the -ou$tesan as tea-he$, p$esent in the .ai&y poe's, is
de1eloped in 6gu1hi and $ea-hes pe$haps its &$andest e0p$ession in that play: the -ou$tesan
tu$ns out to be an in-a$nation o( Bodhisatt1a .a'antabhad$a DBu&en BosatsuE.
"he en-ounte$ bet,een Bash and the t,o -ou$tesans in 'he Narro7 .oa* to the Deep North
$e-alls this le&end o( the 'eetin& o( .ai&y and the ;&u-hi p$ostitute, but Bash de(tly tu$ns
the st$u-tu$e o( that 'eetin& inside out. *n pla-e o( .ai&y9s askin& a (a1ou$ o( a -ou$tesan,
the -ou$tesan be&s Bash (o$ aid. *n pla-e o( a $e?uest (o$ a ni&ht9s lod&in&, is a plea (o$
&uidan-e on a day9s 2ou$ney. *nstead o( the $e?uest ($o' .ai&y, the p$iest, ,ho has -hosen
his ,ay o( li(e and is at ease in it, the $e?uest -o'es ($o' t,o ,o'en ,ho a$e dist$au&ht
about thei$ ,ay o( li(e and a$e t$yin& to de1elop an alte$nati1e to it. *n both .ai&y9s ;&u-hi
poe's and Bash9s passa&e, the $e?uest is denied, but in1e$sion applies also to the -ontent o(
this denial. "he ad'onition by the ;&u-hi -ou$tesan in he$ poe'H$epeated 1e$bati' in the
(inal spee-h in the 7 play 6gu1hiHis Tdo not set you$ hea$t on a passin& shelte$U Dkari no
ya*o ni kokoro tomunaE. *nstead o( bein& ne&ati1e in (o$', Bash9s ad'onition is positi1e:
Tent$ust you$sel( to the ,ay othe$s a$e &oin&U. *nstead o( u$&in& the a1oidan-e o( a
$elationship, Bash u$&es the -ou$tesan to establish one.
6nothe$ di((e$en-e bet,een .ai&y9s 'eetin& ,ith the -ou$tesan and Bash9s is the (a-t that
Bash9s -ou$tesans a$e t$a1elle$s. 6s 5aBleu$ has noted -on-e$nin& the .ai&y poe's and the
7 play 6gu1hi, Tthe -ou$tesan in the inn 'at-hes he$ p$o(ession ,ith he$ pla-e o( $esiden-e+
both a$ti-ulate i'pe$'anen-eRinstabilityU.
3!
*n 'he Narro7 .oa*, ho,e1e$, the -ou$tesans
e'body m0&o in a -o'pound sense: they do not resi*e in a passin& shelte$, they the'sel1es
a$e t$a1elle$s ,ho stop o1e$ in the inn only one ni&ht. 6s ,e ha1e seen Bash also has
p$esented the' as t$a1elle$s in a deepe$ sense, as bein& h/rakashi, -ast ad$i(t.
"his depi-tion o( the -ou$tesans as t$a1elle$s su&&ests a -lose a((inity bet,een the' and
Bash. :espite the ob1ious di((e$en-es bet,een the', 5aBleu$ su&&ests that a kind o( pa$ity
and -o''unity is established bet,een Bash and the ,o'en.
3J
*t is un-lea$ ,hethe$ o$ not it
is TestablishedU be-ause the -ou$tesans do not see' to -ons-iously e0pe$ien-e it. "hey
app$oa-h Bash ,ith a 1e$y hie$a$-hi-al attitude, no$'ally asso-iated ,ith the $oles o( lay
pe$son and -le$i-. Bash9s $esponse $e2e-ts this hie$a$-hy be-ause, unlike the -ou$tesans, he
does $e-o&niCe the -o''on bond. *ndeed, his ,o$ds T&o, ent$ustin& you$sel( to the &oin& o(
othe$sU see' to be an ad'onition: Tsee you$ pa$ity and -o''unity ,ith e1e$yone and a-t
a--o$din& to that $elationshipU. "hei$ (unda'ental bond ,ith e1e$yone -onsists p$e-isely in
bein& t$a1elle$s in a ,o$ld o( i'pe$'anen-e alon& ,ith all people, Tea-h day a 2ou$ney and
the 2ou$ney itsel( ho'eU.
6(te$ e0p$essin&, ho,e1e$ b$ie(ly, the deep a((inity bet,een hi'sel( and the -ou$tesans,
Bash lea1es the'. "he hokku nea$ the end o( the passa&e, ho,e1e$, $e-alls and e'phasiCes
this a((inity. *t also $etu$ns us to the the'e o( the d,ellin&. "he poe' be&ins ,ith the i'a&e
o( one house. /i1en the t$aditional asso-iation o( the inn and mu&/, the i'a&e o( the one
house su&&ests 'o$e than a pa$ti-ula$ buildin& ,he$e an inte$estin& en-ounte$ took pla-e. 6s
5aBleu$ has said, the i'pe$'anent natu$e o( the inn 'ani(ests the t$uth about all houses and
about the natu$e o( li(e itsel(. Bash and the -ou$tesans sleptHand al,ays sleepHin the house
o( i'pe$'anen-e.
"he use o( the ,o$d mo DTtooUE in the poe' is si'ila$ to the 'ultiple use o( mo in the openin&
passa&e o( the 2ou$nal. *n that passa&e, mo 2oined the i'a&es o( days and 'onths, yea$s,
an-ients and Bash as e'bodi'ents o( the i'pe$'anen-e and the 2ou$ney aspe-ts o( li(e. *n
the Hitotsu ya poe', Bash d$a,s the -ou$tesans into this -o'pany ,hi-h, a(te$ all, in-ludes
e1e$yone and e1e$ythin& in the ,o$ld. "he -ou$tesans, Bash and e1e$yone sleep in this house
o( i'pe$'anen-e.
"he t$aditional inte$p$etation o( this poe' identi(ies Bash ,ith the 'oon and the -ou$tesans
,ith the bush -lo1e$.
38
4hile this $eadin& is 1alid, the e'phasis in this passa&e on the
(unda'ental a((inity bet,een Bash and the -ou$tesans su&&ests that the poe' -an be $ead
anothe$ ,ay as ,ell. Both Bash and the -ou$tesans a$e p$esented as pa$tly $eli&ious and
pa$tly se-ula$ in the -on1entional senses o( these te$'s, althou&h in a -on1e$se ,ay: Bash
has all the appea$an-es o( a 'onk on a pil&$i'a&e but he is not, ,hile the t,o ,o'en a$e
p$ostitutes yet a$e, in (a-t, on a $eli&ious pil&$i'a&e. "he st$u-tu$al distin-tion bet,een -le$i-
and -o''one$ has b$oken do,n: Bash and the -ou$tesans -an be asso-iated ,ith both the
hagi and the 'oon.
39
;'bedded in Bash9s -u$t $eply and his poe', then, is an inte$p$etation o( the natu$e and
-ause o( the -ou$tesans9 situation and an app$op$iate -ou$se o( a-tion (o$ both the -ou$tesans
and Bash. "he st$u-tu$e is the sa'e as in the abandoned baby episode: so'eone in dist$ess
-on($onts Bash, a -on1enional inte$p$etation o( the situation is &i1en, Bash &i1es an
alte$nati1e inte$p$etation, and then he ,alks a,ay ($o' the pe$son in dist$ess. "he pe$spe-ti1e
Hand, ,e 'i&ht say, the pointHis the sa'e in both passa&es. Bash and the dist$essed
pe$sons alike e'body the (unda'ental aspe-ts o( $eality: mu&/ and the endless 2ou$ney. "his
pe$spe-ti1e e'phasiCes the deep bond bet,een Bash and the baby and -ou$tesans. *t also
leads Bash to lea1e the' as they ,e$e, abandoned and (ully e0posed to i'pe$'anen-e.
6s in the abandoned baby episode, /ee$tC9s notion o( $eli&ion helps -la$i(y the si&ni(i-an-e o(
the -ou$tesan passa&e. *n /ee$tC9s te$'s, Bash p$esents the -ou$tesans9 dist$ess as a p$oble'
o( 'eanin& in ,hi-h the$e is a despe$ate need (o$ an e0planation o( the su((e$in& and also (o$
a ,ay o( $espondin& to it. "he -ou$tesans see thei$ su((e$in& in te$'s o( bein& t$apped in the
-ondition o( bein& &uideless ,ande$e$s in an i'pe$'anent ,o$ld. Bo$ the' this su((e$in&
a$ises ($o' ka$'i- $et$ibution. 4hile Bash also sees thei$ situation as one o( bein&
,ande$e$s e0posed to i'pe$'anen-e, he inte$p$ets it as a$isin& not ($o' the ,heel o( ka$'a
but ($o' the pe$1asi1e and (unda'ental -ha$a-te$ o( mu&/( "hus they -annot es-ape ($o' thei$
situation, but it is su((e$able (o$ it a$ises ($o' and $e(le-ts the basi- -ha$a-te$ o( $eality. "hei$
su((e$in& 'akes sense.
Bash9s Tno$'ati1e &uide (o$ a-tionU is to T&o, ent$ustin& you$sel( to the &oin& o( othe$sU.
"hey 'ust a--ept thei$ -ondition o( bein& ,ande$e$s in a ,o$ld o( i'pe$'anen-e and
$e-o&niCe thei$ (unda'ental a((inity ,ith e1e$yone else. 6 ph$ase in the openin& passa&e o(
'he Narro7 .oa* -ould be tu$ned into an ad'onition ,ith the sa'e 'eanin&: Tea-h day
bein& a 2ou$ney, 'ake the 2ou$ney ho'eU Dhi!i ta!i ni shite, ta!i o sumika to suE. Bo$ Bash,
the -ou$tesans 'ust a--ept and -ontinue thei$ ,ande$in&. *( they do, they too -an a-hie1e a
settled sense o( 'o1in& ,ith the deepest &$ain o( $eality.
"he a((e-ti1e aspe-t o( the #$oble' o( @eanin&Hho, to (eelHis not as -ent$al to this
passa&e as it is to the abandoned baby episode ,he$e Bash $aises the ?uestion in the $aru o
kiku poe'. Ho,e1e$, the -ou$tesans9 dist$ess is an i'po$tant p$oble': they see' to be on the
1e$&e o( e'otional -haos and an inability to endu$e thei$ an0iety. 6lthou&h the tones o( the
t,o passa&es a$e 1e$y di((e$ent, the t,o p$i'a$y aspe-ts o( Bash9s e'otional $esponse in the
abandoned baby episodeH-o'passion (o$ thei$ -ondition yet a--eptan-e o( itHa$e p$esent in
the -ou$tesan passa&e as ,ell. *n the baby episode Bash9s -o'passion ,as pa$a'ount
be-ause the -hild ,as dyin& and it -ould not bene(it &$eatly ($o' his ad1i-e about a--eptin&
(ate. *n the -ou$tesan passa&e, ho,e1e$, the p$i'a$y p$oble' is to b$in& the -ou$tesans to
a--ept thei$ -ondition, to 'ake thei$ -ondition su((e$able to the' and to an-ho$ thei$ e'otions
in the natu$e o( $eality.
6lthou&h the te$' itsel( is ne1e$ 'entioned, the notion o( Thea1en9s ,illU o$ (ate see's to be
ope$ati1e in this passa&e. Bash $e2e-ts the -ou$tesans9 plea (o$ aid (o$ the sa'e (unda'ental
$eason he lea1es the baby by the $oadside: thei$ -ondition is hea1en9s ,ill, the $esult not o( the
ka$'a o( thei$ past but o( the basi- (ab$i- o( $eality. "he te$' Thea1en9s ,illU does appea$,
ho,e1e$, in anothe$ se-tion o( 'he Narro7 .oa*, one ,ith i'po$tant si'ila$ities to the
passa&es on the abandoned baby and the -ou$tesans. 6&ain Bash en-ounte$s su((e$in&, but
this ti'e it is his o,n.
"hat ni&ht ,e stopped o1e$ at *iCuka. "he$e ,as a hot sp$in& the$e, and ,e bathed and $ented
a $oo'. *t ,as a -$ude, shabby pla-e, ,ith st$a, 'ats o1e$ a di$t (loo$. "he$e ,asn9t e1en a
la'p, so ,e bedded do,n by the li&ht o( the sunken (i$epla-e. 7i&ht -a'e, thunde$ $olled,
$ain pou$ed do,n. "he $oo( leaked o1e$ ou$ heads and * ,as ha$assed by (leas and
'os?uitoes: * -ould not sleep. @y old illness too -$opped up and * al'ost (ainted. Binally the
sky o( the sho$t su''e$ ni&ht be&an to li&hten, and ,e set o(( on-e a&ain. But the ni&ht9s
a((li-tions stayed ,ith 'e and 'y spi$its ,ould not $ise. 4e bo$$o,ed a ho$se and headed (o$
the post to,n o( Aoo$i. @y distant 2ou$ney $e'ained, * ,as an0ious about 'y illness, and yet
this ,as a pil&$i'a&e to (a$ pla-es, a $esi&nation to sel(abandon'ent and i'pe$'anen-e.
:eath 'i&ht -o'e by the $oadside but that is hea1en9s ,ill. 4ith those thou&hts 'y spi$its
$e-o1e$ed a bit, * be&an to step b$oadly on 'y ,ay, and 2auntily * -$ossed the >kido Ba$$ie$ at
:ate.
K%
NB' K!:J!
"his is pe$haps Bash9s 'ost 1i1id po$t$ayal o( his o,n su((e$in&s on the $oad. "he
annoyan-es o( t$a1ellin& a$e 'entioned in othe$ passa&es as ,ell but this passa&e p$esents a
'an at the ed&e o( endu$an-e. "he -h$oni- illness ,as a sto'a-h ail'ent, possibly a-ute
dia$$hoea o$ hae'o$$hoids, and it both pla&ued and ,eakened hi'. "he (a-t that this se-tion
-o'es (ai$ly ea$ly in the 2ou$ney e'phasiCes the se$iousness o( his situation and su&&ests ho,
easy it ,ould ha1e been to be dishea$tened.
"he passa&e is not si'ply an a--ount o( ha$d ti'es and $esol1e. *t is one pe$son9s en-ounte$
,ith the #$oble' o( @eanin&: ho, to unde$stand su((e$in& and, unde$standin& it, ho, to
endu$e it. .u((e$in& be-o'es su((e$able, as ,e ha1e seen, ,hen it -an be unde$stood and
'eanin&(ul, $ooted in the natu$e o( the uni1e$se. 6s /ee$tC says o( the 7a1aho sin&, the need
is to T&i1e the st$i-ken pe$son a 1o-abula$y in te$'s o( ,hi-h to &$asp the natu$e o( his
dist$ess and $elate it to the ,ide$ ,o$ld.U 6 sin&, he says,
K1
is 'ainly -on-e$ned ,ith the p$esentation o( a spe-i(i- and -on-$ete i'a&e o( t$uly hu'an,
and so endu$able, su((e$in& po,e$(ul enou&h to $esist the -hallen&e o( e'otional
'eanin&lessness $aised by the e0isten-e o( intense and un$e'o1able b$ute pain.
Bash (inds the i'a&e o( t$uly hu'an and endu$able su((e$in& in the idea o( a pil&$i'a&e. *t is
a pil&$i'a&e o( a pa$ti-ula$ type, not the kind the -ou$tesans unde$took in ,hi-h the$e ,as a
de(ined &oal and hopes o( -han&in& thei$ essential -ondition. Bash9s ,as an endless
pil&$i'a&e, the (ull e0posu$e o( hi'sel( to and an e'bodi'ent o( the essential -ondition o(
Tabandon'entU and i'pe$'anen-e, the ?ualities ,hi-h the baby and the -ou$tesans &$ie1ed
o1e$. Ho,e1e$ b$ute and un$e'o1able his pain, it be-a'e 'eanin&(ul and su((e$able be-ause
it ,as, like death on the $oad, hea1en9s ,ill.
Hea1en9s ,ill, unde$stood in te$'s o( the (unda'ental and pe$1asi1e -ha$a-te$ o(
i'pe$'anen-e and the 2ou$ney, ties these th$ee passa&es to&ethe$. *t also &i1es the' a
pa$ti-ula$ly $eli&ious -ha$a-te$ (o$, in ea-h o( the', su((e$in& is p$esented as a #$oble' o(
@eanin& ,hi-h is sol1ed by $e-ou$se to this pa$ti-ula$ notion o( (ate. By $e(e$$in& to the
ulti'a-y and ines-apability o( mu&/ and the 2ou$ney, Bash e0plains su((e$in& in te$'s o( the
(unda'ental natu$e o( $eality and also p$esents no$'s o( -ondu-t and types o( (eelin& that
a--o$d ,ith that $eality. "he (inal i'a&e o( the Lkido ba$$ie$ passa&e is one that ,ell
-ha$a-te$iCes Bash9s ,ay o( li(e and its $eli&ious -ha$a-te$. *( $eli&ion p$o1ides the settled
sense o( 'o1in& ,ith the deepest &$ain o( $eality, and $eality is ulti'ately unde$stood as
i'pe$'anen-e and an endless 2ou$ney, then su$ely Bash9s $eli&ious li(e -an be seen in the
i'a&e o( a ,ay(a$e$ -$ossin& yet anothe$ ba$$ie$.
Notes
1. "he te0ts used in this a$ti-le a$e (ound in Nihon oten Bungaku 'aikei, "ky,
*,ana'i .hoten, 1959, 1ol. K!, abb$e1iated he$e as NB' K!, (ollo,ed by the pa&e
nu'be$. * ,ould like to thank #$o(esso$s ;d,in /ood and .usan @atiso(( (o$ help(ul
-o''ents on ea$lie$ d$a(ts o( this a$ti-le.
2. Bo$ (ou$ 1e$y di((e$ent app$oa-hes to Bash9s $eli&iosity see Robe$t 6itken, A 3en
)a-e: Bash/;s Haiku an* 3en, 7e, Go$k, 4eathe$hill, 19J8, 3a'es Boa$d, T"he
5oneliness o( @atsuo BashU, in B$ank ;. Reynolds and :onald 8apps DedsE, 'he
Biographi1al 5ro1ess: $tu*ies in the History an* 5sy1hology of .eligion, "he Ha&ue,
@outon, pp. 3!391, Ri-ha$d #il&$i', T"he Reli&io6estheti- o( @atsuo BashU,
6astern Bu**hist, n.s. 1%.1 D@ay 19JJE, pp. 3553, and @akoto <eda, T*'pe$sonality
in #oet$y: Bash on the 6$t o( HaikuU, in his ,iterary an* Art 'heories in 2apan,
8le1eland, 4este$n Rese$1e <ni1e$sity #$ess, 19!J, pp. 1K5J2. 6'on& the 'any
,o$ks in 3apanese on this sub2e-t, see <'eha$a "akeshi, TBash to .hQkyU, in
7aka'u$a Gukihiko Ded.E, $akka no i!an, "ky, Aado&a,a .hoten, 19J%, pp. 2!9
31K, and Ga'a'oto "adai-hi, TBash Bun&aku no .hQkyseiU, in Bukky/ Bungaku
enky0, 2 D19!KE, pp. 2KJ81.
3. ,an*s1apes an* 5ortraits, "okyo, Aodansha, 19J1, p. 1%!, n. 15.
K. 'he arma of )or*s: Bu**hism an* the ,iterary Arts in "e*ie-al 2apan, Be$keley,
<ni1e$sity o( 8ali(o$nia #$ess, 1983, p. 152. 6 -o'pa$ison o( Bash9s last t$a1el
2ou$nal 'he Narro7 .oa* to the Deep North DOku no Hosomi1hiE ,ith a (a-tual $e-o$d
o( the 2ou$ney 'ade by his t$a1ellin& -o'panion .o$a $e1eals Bash9s (i-tionaliCin& o(
that 2ou$nal. <n(o$tunately ,e ha1e no su-h (a-tual $e-o$d o( his othe$ 2ou$neys. Bo$
an a$&u'ent that Bash p$obably did not alte$ (a-tual details in his ea$liest 2ou$nals,
see *'oto 7i-hi, Bash/: $ono 2insei to %ei&utsu, "ky, Aodansha, 19!8, pp. 1%9
11. Ho,e1e$, ,ithout -o$$obo$ati1e e1iden-e su-h 2ud&e'ents a$e -on2e-tu$al. *n any
e1ent, ,e a$e dealin& he$e not ,ith histo$i-al ?uestions about Bash9s bio&$aphy but
he$'eneuti-al ?uestions about his lite$a$y te0ts. "he -ha$a-te$s and e1ents in his
2ou$nals a$e T(i-tionalU, lite$a$y -onst$u-tions that 'ay o$ 'ay not $e(le-t histo$i-al
-ha$a-te$s and e1ents. ;0-ept in a (e, instan-es ,he$e * a' -lea$ly talkin& about
Bash as autho$, the te$' TBashU in this pape$ $e(e$s to a pe$sona in a lite$a$y ,o$k.
5. >&ata "suto'u, "atsuo Bash/, "ky, 8hiku'a .hob, 19J1, p. 11J.
!. Bo$ a dis-ussion o( the allusions to 8huan& "Cu and Auan&,en, see >&ata, pp. 115
1!. "he an-ient $e(e$$ed to in the openin& passa&e o( the 2ou$nal is &ene$ally
-onside$ed to be Auan&,en.
J. "he i'a&e o( ,ay(a$in& and death a$e also (ound in the openin& o( 'he Narro7 .oa*
to the Deep North( .ee pa&e ! (o$ a t$anslation.
8. *'oto, pp. 11112.
9. *bid., p. 111.
1%. Bash/, "ky, .hin-ho, 195J, p. 55.
11. 'he Interpretation of 8ultures, 7e, Go$k, Basi- Books, 19J3, p. 1%%.
12. *bid., .ee also p. 1%8.
13. *bid., p. 1%%.
1K. *bid., p. 1%K.
15. *bid., p. 1%!.
1!. Islam O!ser-e*: .eligious De-elopment in "oro11o an* In*onesia, 8hi-a&o,
<ni1e$sity o( 8hi-a&o #$ess, 19!8, p. 98.
1J. *bid., p. 9J.
18. *bid., p. 1%2.
19. 'he Interpretation of 8ultures, pp. 1%K and 1%8.
2%. "hus * use the te$' Tethi-al aspe-tU in a b$oad sense that in-ludes not only &ood and
e1il but also ho, thin&s ou&ht to be and ho, ,e ou&ht to li1e.
21. "his is not to say the$e al,ays is su-h a -onne-tion, o$ that it is al,ays kno,n, only
that su-h a -onne-tion 'ust be possible and kno,able. .ee /ee$tC, 'he Interpretation
of 8ultures, p. 1%%.
22. 6'on& the 'any dis-ussions o( mu&/, see *sode "ada'asa, "u&/ no /z/, "okyo,
Aodansha, 19J!, Aa$aki 3unC, "u&/, "ky, 8hiku'a .hob, 19!5, 7ishida
@asayoshi, "u&/ no eifu, "ky,L(usha, 19J%, "u&/ no Bungaku, "okyo, 7ana,a
.hob, 19J5, and 4illia' 5aBleu$, T*nns and He$'ita&es: "he .t$u-tu$e o(
*'pe$'anen-eU, in 'he arma of )or*s, pp. !%J9.
23. "he poe' is said to be by Aenk. "$anslation by Aeene p. 129.
2K. @y -ontention is that Bash (elt this settled sense inso(a$ as he ,as a ,ande$e$. "his
does not $ule out (eelin&s o( $e&$et o$ an0iety ste''in& ($o' othe$ aspe-ts o( his li(e.
"he ?uestion o( Bash9s t$an?uilityHand la-k o( itHis a -o'ple0 one and not at issue
he$e.
25. 'he Interpretation of 8ultures, p. 1%K.
2!. *bid., p. 1!8.
2J. :espite $e(e$en-e to .o$a, this en-ounte$ is not 'entioned in his $e-o$d o( the 2ou$ney
o( 1!899%. *t is p$esu'ed to be a (ab$i-ation by Bash: the -ha$a-te$s a$e p$obably
(i-tional in a histo$i-al as ,ell as lite$a$y sense. "he te$' * ha1e t$anslated as
Tdau&hte$s o( the sho$eU is ama no ko( "he te$' lite$ally $eads T-hild o( the seaU but
'eans both Tdau&hte$ o( a (ishe$'anU and Tp$ostituteU. "his se-ond 'eanin& a$ose
($o' the ($e?uen-y o( b$othels at sea po$ts. .ee also the poe' -ited on p. 2%.
28. Bo$ anothe$ dis-ussion o( this the'e, see 5aBleu$, p. J5.
29. "he poe' is in the .hinkokinshQ, no. 1J%1.
3%. "he endin&s nashi and zu both indi-ate the ne&ati1e.
31. .ee his T*nns and He$'ita&esU.
32. "$anslation by 5aBleu$, pp. J%J1.
33. *bid., p. J1.
3K. *bid.
35. Bo$ an ;n&lish t$anslation, see Royall "yle$, 5ining )in*: A 8y1le of N/ 5lays,
*tha-a, 7e, Go$k, 8o$nell <ni1e$sity 8hina3apan #$o&$a', 19J8, pp. J58J.
3!. 'he arma of )or*s, p. JK.
3J. *bid., p. 1J3, n. 33.
38. Bo$ a t$anslation that 'akes this identi(i-ation, see 7obuyuki Guasa9s 'he Narro7
.oa* to the Deep North an* Other 'ra-el $ket1hes, Balti'o$e, #en&uin, 19!!, p. 132.
Bo$ inte$p$etations that $e2e-t this identi(i-ation, see .hi&eto'o Ai, Basho no enky0,
"ky, Bun$i .hoin, 19J1, p. 32K, and 5aBleu$, p. JJ.
39. *n the 7 play 6gu1hi, the -ou$tesan is -losely asso-iated ,ith the 'oon.
K%. 6s he o(ten does, Bash plays on the 'eanin& o( the pla-e na'e: :ate 'eans
dandyish o$ 2aunty.
K1. 'he Interpretation of 8ultures, p. 1%5. "he 7a1aho sin&, a--o$din& to /ee$tC, is a
$eli&ious psy-hod$a'a dedi-ated to $e'o1in& physi-al o$ 'ental illness.
Bash9s /host by .a' Ha'ill
in: Ameri1an 5oetry .e-ie7, Nol. 18, 7o. !, 7o1e'be$ 1989, pp. K95K.
'he moon an* the sun are tra-elers through eternity( 6-en the years 7an*er on( )hether
*rifting through life on a !oat or 1lim!ing to7ar* ol* age lea*ing a horse, ea1h *ay is a
&ourney, an* the &ourney itself is home(
HBasho, Oku no hosomi1hi
Basho $ose lon& be(o$e da,n, but e1en at su-h an ea$ly hou$, he kne, the day ,ould &$o,
$osy b$i&ht. *t ,as sp$in&, 1!89. *n <eno and Ganaka, -he$$y t$ees ,e$e in (ull blosso', and
hund$eds o( (a'ilies ,ould soon be st$ollin& unde$ thei$ b$an-hes, lo1e$s ,alkin& and
speakin& so(tly o$ not at all. But it ,asn9t -he$$y blosso's that o--upied his 'ind. He had
lon& d$ea'ed o( -$ossin& the .hi$aka,a Ba$$ie$ into the hea$t o( no$the$n Honshu, the -ount$y
-alled >ku lyin& i''ediately to the no$th o( the -ity o( .endai. He had pat-hed his old -otton
t$ouse$s and $epai$ed his ba'boo hat. He pla-ed his old that-hed$oo( hut in anothe$9s -a$e
and 'o1ed se1e$al hund$ed (eet do,n the $oad to the ho'e o( his dis-iplepat$on, @$. .a'pu,
'akin& (inal p$epa$ations be(o$e e'ba$kation.
>n the 'o$nin& o( @ay 1!th, da,n $ose th$ou&h a shi''e$in& 'ist, Bu2iya'a (aintly 1isible
on the ho$iCon. *t ,as the be&innin& o( the /en$oku pe$iod, a ti'e o( $elati1e pea-e unde$ the
"oku&a,a sho&unate. But t$a1el is al,ays dan&e$ous. 6 de1otee as ,ell as a t$a1elin&
-o'panion, Basho9s ($iend, .o$a, ,ould sha1e his head and don $obes like a Ien 'onk, a
ta-ti- ,hi-h o(ten p$o1ed help(ul at ,ell&ua$ded -he-kpoints. Basho had done so hi'sel( on
p$e1ious 2ou$neys. Be-ause o( poo$ health, Basho -a$$ies e0t$a ni&ht,ea$ in his pa-k alon&
,ith his -otton $obe o$ yukata, a $ain-oat, -alli&$aphy supplies, and o( -ou$se hanamuke o$
depa$tu$e &i(ts ($o' ,ell,ishe$s, &i(ts he (ound i'possible to lea1e behind.
Basho hi'sel( ,ould lea1e behind a nu'be$ o( &i(ts upon his death so'e (i1e yea$s late$,
a'on& the' a 2ou$nal -o'posed after this 2ou$ney, his health a&ain in de-line, a 2ou$nal 'ade
up in pa$t o( (i-tion o$ (an-y. But du$in& the sp$in& and su''e$ o( 1!89, he ,alked and
,at-hed. 6nd ($o' ea$ly 1!9% into 1!9K, Basho ,$ote and $e1ised his t$a1el dia$y ,hi-h is
not a dia$y at all. Oku 'eans ,ithin and hosomi1hi 'eans path o$ na$$o, $oad. "he no
indi-ates a possessi1e. Oku no hosomi1hi: the na$$o, $oad ,ithin.
"he Oku no hosomi1hi is not si'ply a t$a1el 2ou$nal. *ts (o$', hai!un, -o'bines sho$t p$ose
passa&es ,ith haiku( But the hea$t and soul o( this little book, its kokoro, -annot be (ound
si'ply by de(inin& (o$'. Basho -o'pletely $ede(ined haiku, he t$ans(o$'ed haibun. But these
a--o'plish'ents &$e, out o( a$duous studies in poet$y, Buddhis', histo$y, "aois',
8on(u-ianis', .hintois', and so'e 1e$y i'po$tant Ien t$ainin&.
Basho ,as a student o( .ai&yo, a Buddhist 'onkpoet ,ho li1ed (i1e hund$ed yea$s ea$lie$
D1118119%E+ .ai&yo is the 'ost p$o'inent poet o( the i'pe$ial antholo&y, $hin+kokinshu(
5ike .ai&yo be(o$e hi', Basho belie1ed in -odependent o$i&ination, a Buddhist idea holdin&
that all thin&s a$e (ully inte$dependent, e1en at point o( o$i&in+ that no thin& is o$ -an be
-o'pletely sel(o$i&inatin&. Basho said o( .ai&yo, He ,as obedient to and at one ,ith natu$e
and the (ou$ seasons. "he $amanta!ha*ra+!o*hisatt-a+sutra says, >( one thin& it is said,
T"his is &ood,U and o( anothe$ it is said, T"his is bad,U but the$e is nothin& inhe$ent in eithe$ to
'ake the' T&oodU o$ Tbad.U "he Tsel(U is e'pty o( independent e0isten-e.
Basho, d$ea'in& o( the (ull 'oon as it $ises o1e$ boats at .hio&a'a Bea-h, is not lookin&
outside hi'sel(+ $athe$ he is seekin& that ,hi-h is 'ost -lea$ly 'eanin&(ul ,ithin, and
lo-atin& the 'eanin& ,ithin the -onte0t o( 2u0taposed i'a&es, i'a&es ,hi-h a$e
inte$penet$atin& and inte$dependent. "he i'a&es a$ise natu$ally out o( the kokoro o$ hsinHthe
hea$tRsoulR'ind.
",o hund$ed yea$s be(o$e Basho, Ao'pa$u Ien-hiku ,$ote, "he 4heel o( ;'ptiness is the
hi&hest le1el o( a$t o( the 7ohHthe pe$(o$'an-e is mushin( "he a$t o( a$tlessness, the a-t o(
-o'position a-hie1ed ,ithout sensibility o$ styleHthis di$e-tness o( e'otion e0p$essed
,ithout o$na'ent set the standa$ds o( the day.
6t the ti'e o( the -o'pilin& o( the "an;yoshu in the late 8th -entu$y, the 3apanese -$iti-al
1o-abula$y e'phasiCed t,o aspe-ts o( the poe': kokoro, ,hi-h in-luded sin-e$ity,
-on1i-tion, o$ hea$t+ and -$a(t in a 'ost pa$ti-ula$ ,ay. "he "an;yoshu poets ,e$e
ad'i$ed (o$ thei$ 'as-ulinity, that is, (o$ un-lutte$ed, di$e-t, and o(ten se1e$e e0p$ession o(
e'otion. "hei$ sin-e$ity DmakotoE ,as a ?uality to be $e1e$ed.
>ne o( the (i$st karon o$ lite$a$y -$iti-is' in 3apanese is that o( Bu2i,a$a Ha'ana$i DJ33J99E,
autho$ o( akyo+hyoshiki, an essay listin& se1en diseases o( poet$y, su-h as ha1in& the (i$st
and se-ond lines end on the sa'e syllable, o$ ha1in& the last syllable o( the thi$d and last lines
di((e$. "he$e ,e$e 1a$ious disse$tations on poe'diseases, all la$&ely 'odeled on the
o$i&inal 8hinese o( .hen Go DKK1513E. "he idea o( studyin& -$a(t in poet$y 'ust ha1e -au&ht
on ?ui-kly be-ause by 885 the (i$st uta+a7ase o$ poet$y,$itin& -ontests ,e$e bein& held.
6t the ti'e o( the -o'pilation o( the "an;yoshu, 1e$y little poet$y ,as bein& ,$itten in
8hinese+ Hito'a$o and Gaka'o-hi, the &$eat 8th -entu$y poets o( the "an;yoshu, ,$ote
,ithout 'any allusions to 8on(u-ian and Buddhist -lassi-s, thei$ poe's d$a,in& inspi$ation
($o' the lands-ape and e0pe$ien-e ,hi-h is uni?uely 3apanese. 6nothe$ -ou$t antholo&y
-onte'po$a$y ,ith the "an;yoshu, the aifuso, $ep$esents the int$odu-tion o( poet$y ,$itten
in 8hinese, despite a (e, sa'ples in the "an;yoshu( "h$ou&h the in(luen-e o( the 'onk
Aukai, also -alled Aobo :aishi DJJK835E, the study o( 8hinese be-a'e the no$' (o$ ,hat
a'ounted to a Buddhist a$isto-$a-y. 6s (ounde$ o( the .hin&on o$ "$ue 4o$d se-t in 3apan,
Aukai (ollo,ed a t$adition o( se-$et o$al tea-hin&s passed on ($o' @aste$ to dis-iple, and had
hi'sel( spent t,o yea$s studyin& in 8hina unde$ Hui Auo DJ!K8%5E. "he late$ in(luen-e o(
.u&a,a$a no @i-hiCane established 8hinese as the lan&ua&e o( s-hola$ly poets, so 'u-h so
that upon his death, @i-hiCane ,as ensh$ined as a &od o( lite$atu$e and -alli&$aphy. His
(ollo,e$s (ound 3apanese (o$'s too $est$i-ti1e (o$ thei$ 'ultilaye$ed poet$y. ;1e$y &ood poet
,as a tea-he$ o( poet$y in one ,ay o$ anothe$, 'any takin& on dis-iples. @i-hiCane9s
in(luen-e ,as p$o(ound. He ad1o-ated both $i&o$ous s-hola$ship and &enuine sin-e$ity in
-o'position, his o,n 1e$ses substantially in(luen-ed by the "9an& poet, #o 8hui. "he (o$'
,as shih o$ ly$i- 1e$se -o'posed in (i1e o$ se1en -ha$a-te$ lines ,$itten in 8hinese, but
unlike 'ost ea$lie$ 3apanese poets, @i-hiCane9s poe's ,e$e de-epti1ely si'ple, and like the
poet$y o( #o 8hui, st$en&thened by a -o'bination o( poi&nan-y and -on1i-tion. #oet$y
,$itten in 8hinese ,as -alled kanshi, and @i-hiCane established it as a 'a2o$ (o$-e.
*n his kana Dphoneti- alphabetE p$e(a-e to the okinshu in the 1%th -entu$y, Ai no "su$ayuki,
autho$ o( the (a'ous 'osa Diary, lists si0 types BrokugiC o( poet$y:
1. soe+uta: su&&esti1e o$ indi$e-t e0p$ession o( (eelin&+
2. kazoe+uta: -lea$, di$e-t e0p$ession o( (eelin&+
3. nazurae+uta: pa$aboli- e0p$ession+
K. tatoe+uta: e0p$ession that -on-eals po,e$(ul e'otion+
5. ta*agoto+uta: $e(ine'ent o( a t$aditional e0p$ession+
!. i7ai+uta: poe' e0p$essin& -on&$atulations o$ p$aise.
"su$ayuki9s list o,es so'ethin& to 5u 8hi9s -atalo&ue o( &en$es in his 3$d -entu$y 8hinese
Art of )riting B)en FuC, ,hi-h is itsel( indebted to 1a$ious t$eatises on the -lassi- 8on(u-ian
poet$y antholo&y, $hih 8hing o$ 8lassi1 of 5oetry( @u-h o( the pen-hant (o$ -atalo&uin& and
-lassi(yin& types o( poet$y is the $esult o( the 8on(u-ion -lassi-, 'a Hsueh o$ %reat ,earning,
in ,hi-h @aste$ Aun& D8on(u-iusE says 6ll ,isdo' is $ooted in lea$nin& to -all thin&s by the
$i&ht na'e, and that ,hen thin&s a$e p$ope$ly identi(ied, they (all into natu$al -ate&o$ies
and unde$standin& Xand, -onse?uently, a1tionY be-o'es o$de$ly. 5u 8hi, the dedi-ated
student o( 8on(u-ius, $e'inds us that the a$t o( lette$s has sa1ed &o1e$n'ents ($o' -e$tain
$uin. He (inds ,ithin the study o( ,$itin& itsel( a ,ay to set his o,n li(e in o$de$. .tudyin&
8hinese, the 3apanese lite$ati pi-ked up 5u 8hi9s habit o( dis-ussin& poet$y in te$'s o( (o$'
and -ontent. 6nd ($o' the 5th -entu$y 8hinese s-hola$, 5iu Hsieh, d$e, the te$' amari no
kokoro, a t$anslation o( 5iu9s o$i&inal yu 7ei o$ after+taste( 6s a -$iti-al te$', it ,ould be
used and $eshaped, and used a&ain, still a pa$t o( lite$a$y e1aluation in the late 2%th -entu$y.
7a$ihi$a says o( a poe' in the okinshu, okoro amarite?koto!a tarazu, o$ #lenty o(
hea$t+ not enou&h ,o$ds. Au$onushi says, okoro okashikute, sama iyashi, o$ *nte$estin&
kokoro, but a $athe$ -o''on (o$'. "he poet st$i1es (o$ a ?uality -alled amari no kokoro,
'eanin& that the hea$tRsoul o( the poe' 'ust $ea-h (a$ beyond the ,o$ds the'sel1es.
Bo$ Basho, this 'ost o(ten 'eant a $esonan-e (ound in natu$e. 4hen he in1okes the -all o( the
little 'ountain bi$d, kanko*ori, the na'e o( the bi$d in1okes its lonely -$y. "hin&s a$e as they
a$e. *nsi&ht pe$'its hi' to pe$-ei1e a natu$al poi&nan-y in the beauty o( te'po$al thin&sH
mono no a7are( A7are o$i&inally 'eant si'ply e'otion initiated by en&a&e'ent o( the
senses. *n its o,n ,ay, this ph$ase is 3apan9s e?ui1alent o( 4illia' 8a$los 4illia's9s di-tu',
7o ideas but in thin&s, e?ually 'isapp$op$iated, 'isapplied, and 'isunde$stood. *n 'he
)orl* of the $hining 5rin1e, *1an @o$$is9s study o( 'he 'ale of %en&i, he says o( a7are, *n
its ,idest sense it ,as an inte$2e-tion o$ ad2e-ti1e $e(e$$in& to the e'otional ?uality inhe$ent
in ob2e-ts, people, natu$e, and a$t, and by e0tension it applied to a pe$son9s inte$nal $esponse
to e'otional aspe-ts o( the e0te$nal ,o$ld V in @u$asaki9s ti'e X-a. 1%% 6.:.Y a7are still
$etained its ea$ly -atholi- $an&e, its 'ost -ha$a-te$isti- use in 'he 'ale of %en&i is to su&&est
the pathos inhe$ent in the beauty o( the oute$ ,o$ld, a beauty that is ine0o$ably (ated to
disappea$ to&ethe$ ,ith the obse$1e$. Buddhist do-t$ines about the e1anes-en-e o( all li1in&
thin&s natu$ally in(luen-ed this pa$ti-ula$ -ontent o( the ,o$d, but the st$ess in a7are ,as
al,ays on di$e-t e'otional e0pe$ien-e $athe$ than on $eli&ious unde$standin&. A7are ne1e$
enti$ely lost its si'ple inte$2e-tional sense o( T6hSU
Bash as Bat: 4ay(a$in& and 6ntist$u-tu$e in the
3ou$nals o( @atsuo Bash
by :a1id 5. Ba$nhill
in: 2ournal of Asian $tu*ies, Nol. K9, 7o. 2, @ay 199%, pp. 2JK9%.
"he 3apanese ,$ite$ @atsuo Bash D1!KK9KE is kno,n in the 4est p$i'a$ily as a haiku poet.
But he ,as also a 'aste$ o( 3apanese p$ose, both hai!un Dsho$t pie-es o( poeti- p$oseE and
kik/ Dt$a1el lite$atu$eE. *t is in his p$ose, pa$ti-ula$ly his t$a1el 2ou$nals, that Bash po$t$ays a
1ision and a ,ay o( li(e that is p$o(oundly $eli&ious.
6lthou&h it is -lea$ that Bash is $eli&ious, it is not easy to de(ine the natu$e o( that $eli&iosity.
He ,as -e$tainly in(luen-ed by Buddhis', but to assu'e un-$iti-ally that he ,as a Buddhist
is to $isk 'askin& the indi1iduality o( his 1ision and ,ay o( li(e. *n (a-t, Bash e'phasiCes the
-o'ple0ity o( his $eli&ious o$ientation and -ont$asts it ,ith -on1entional unde$standin&s o(
Buddhis'. *n doin& so, he p$esents us ,ith a $eli&ious stan-e, an o$ientation de(ined in pa$t by
its distin-tion ($o' as ,ell as its $elation to the t$aditional no$'s o( $eli&ious so-iety.
*( ,e a$e to unde$stand Bash9s stan-e and its indi1iduality, ,e need to e0a'ine -losely those
passa&es in his ,$itin&s ,he$e he de(ines his pa$ti-ula$ o$ientation. >ne passa&e that su&&ests
Bash9s unde$standin& o( his o,n $eli&ious stan-e -o'es at the be&innin& o( the t$a1el 2ou$nal
ashima kik/ DA -isit to ashima $hrineE:
8he$ishin& the 'e'o$y o( a (ollo,e$ o( the poeti- spi$it, * $esol1ed to see the 'oon o1e$ the
'ountains o( Aashi'a .h$ine this autu'n. * ,as a--o'panied by t,o 'en, a 'aste$less
sa'u$ai and a 'onk. "he 'onk ,as d$essed in $obes bla-k as a -$o,, ,ith a bundle o( sa-$ed
stoles a$ound his ne-k and an i'a&e o( the Buddha des-endin& the 'ountain pla-ed $e1e$ently
in a po$table sh$ine on his ba-k. >(( he st$utted, thu'pin& his sta((, alone in the uni1e$se, no
ba$$ie$s bet,een hi' and the /ateless /ate. *, ho,e1e$, a' neithe$ a 'onk no$ a 'an o( the
,o$ld. * -ould be -alled a batHin bet,een a bi$d and a 'ouse.
1
DNB' K!:K!E
*n Bash9s -ha$a-te$isti- deli&ht in sel(po$t$aitu$e, he is int$odu-in& hi'sel( to us: he is a bat.
2
",o -ont$asts do'inate this passa&e. "he (i$st is bet,een a lo$dless sa'u$ai about ,ho' ,e
a$e told 1e$y little, and a $athe$ ostentatious Buddhist p$iest ,ho appea$s al'ost in -a$i-atu$e.
*t is -lea$ that these t,o (i&u$es $ep$esent a 'e'be$ o( the se-ula$ 'ode o( li(e Da 'an o( the
,o$ldE and a 'e'be$ o( an established $eli&ious 'ode o( li(e Da 'onkE. "he di((e$en-e
bet,een these t,o ,ays o( li(e is a--entuated by the di((e$en-e bet,een the t,o (i&u$es: one
is po'pous, al'ost &audy, and depi-ted in &$eat detail+ the othe$ is hu'ble in status and
ha$dly des-$ibed at all, ,hi-h &i1es the i'p$ession that he is plain and unassu'in&. "he t,o
(i&u$es, like the 'odes o( li(e they $ep$esent, a$e 1e$y di((e$ent, yet they both a$e -lea$ly
$e-o&niCable as 'e'be$s o( established -ultu$al (o$'s: the se-ula$ and the sa-$ed as
-on1entionally de(ined.
"he se-ond -ont$ast is bet,een Bash and both o( these (i&u$es, bet,een his 'ode o( li(e and
the 'odes o( the se-ula$ and the o$thodo0 sa-$ed. He is neithe$ a p$iest no$ an o$dina$y 'an:
he li1es outside, o$ bet,een, these no$'al 'odes o( li(e. He is neithe$ the bi$d o( a $eli&ious
p$iest no$ the 'ouse o( a -o''one$.
"his the'eHbein& bet,een the se-ula$ and sa-$ed as they a$e -on1entionally de(inedHis
(ound also in Bash9s (i$st t$a1el 2ou$nal, Nozarashi kik/ D'he re1or* of a 7eather+e:pose*
skeletonE:
* ,ea$ no s,o$d on 'y hips but han& an al's ,allet ($o' 'y ne-k and dan&le a $osa$y o(
ei&hteen beads in 'y hand. * $ese'ble a p$iest, but the dust o( the ,o$ld is on 'e+ * $ese'ble
a laype$son, but 'y head is sha1en. * a' no p$iest, but he$e those ,ith sha1en heads a$e
-onside$ed Buddhist ($ia$s and * ,as not allo,ed to &o be(o$e the sh$ine.
DNB' K!:3J38E
6s does the p$e1ious passa&e, this one -ont$asts the se-ula$ Dthe s,o$dbea$in& sa'u$aiE and
the sa-$ed Dthe p$iestE as they a$e -on1entionally de(ined. Bash is p$esented as both di((e$ent
($o' and si'ila$ to these t,o $oles. His si'ila$ity to the p$iest is st$on&ly e'phasiCed: he
-a$$ies an al's ,allet and a $osa$y, his head is sha1en, he is belie1ed by othe$s to be a
Buddhist p$iest. Bash -lea$ly is p$esented as $eli&ious, yet he does not (it into eithe$ o( the
&$oups -o''only $e-o&niCed as the se-ula$ and the sa-$ed.
3
Ho, do ,e talk about su-h a $eli&ious bat= "he e0pli-it bet,i0t and bet,een the'e in these
passa&es $e-alls Ni-to$ "u$ne$9s studies o( antist$u-tu$e and li'inality. *n (a-t, "u$ne$9s
dis-ussions o( antist$u-tu$e and pil&$i'a&e p$o1ide an initial 1o-abula$y that helps spe-i(y
Bash9s pa$ti-ula$ $eli&ious stan-e. 4e need, ho,e1e$, to add to that 1o-abula$y by dis-ussin&
a type o( $eli&ious 2ou$ney di((e$ent ($o' pil&$i'a&e: ,ay(a$in&. Bash9s notion o( ,ay(a$in&,
dis-ussed in te$'s o( antist$u-tu$e, helps to e0plain both his &ene$al $eli&ious o$ientation and
his hu'o$ous yet se$ious distin-tion bet,een the t,o ,in&ed -$eatu$es o( $eli&ion, the bi$d
and the ba$.
TURNER AND ANTISTRUCTURE
"u$ne$ e0panded 6$nold 1an /ennep9s -lassi- study o( $ites o( passa&e ,ith the notions o(
st$u-tu$e and antist$u-tu$e. Bo$ "u$ne$, st$u-tu$e $e(e$s to ,hat Robe$t @e$ton has te$'ed
Tthe patte$ned a$$an&e'ents o( $olesets, statussets and statusse?uen-esU -ons-iously
$e-o&niCed and $e&ula$ly ope$ati1e in a &i1en so-iety D"u$ne$ 19JK:2%1E. .t$u-tu$e holds
people apa$t, de(ines thei$ di((e$en-es, and -onst$ains thei$ a-tions D"u$ne$ 19JK:2JKE.
6ntist$u-tu$e, on the othe$ hand, -onsists o( states and p$o-esses that a$e bet,i0t and
bet,een the no$'al, daytoday -ultu$al and so-ial states and p$o-esses o( &ettin& and
spendin&, p$ese$1in& la, and o$de$, and $e&iste$in& st$u-tu$al status D"u$ne$ 19J9:9KE.
"u$ne$ identi(ied (ou$ 'a2o$ (o$'s o( antist$u-tu$e, but he spent nea$ly all o( his $esea$-h on
one (o$', li'inality, a 'idpoint o( t$ansition in a statusse?uen-e bet,een t,o positions
D"u$ne$ 19JK:23JE. "he othe$ th$ee (o$'s o( antist$u-tu$eHin(e$io$ity, 'a$&inality, and
outside$hoodHdo not ne-essa$ily sha$e this t$ansitional ?uality. "hey a$e not by de(inition
p$o-esses that be&in and end in st$u-tu$e+ they 'ay be pe$'anent -onditions outside o(
st$u-tu$e.
*n(e$io$ity desi&nates not a lo, position ,ithin st$u-tu$e but the -ondition o( bein& beneath,
and the$e(o$e outside, st$u-tu$e. "he untou-hables in *ndia a$e pe$haps the -lea$est e0a'ple
D"u$ne$ 19JK:23KE. @a$&inality $e(e$s to people ,ho a$e si'ultaneously 'e'be$s V o( t,o
o$ 'o$e &$oups ,hose so-ial de(initions and -ultu$al no$'s a$e distin-t ($o' and o(ten
opposed to one anothe$ D"u$ne$ 19JK:233E. .o'e e0a'ples "u$ne$ -ites a$e 'i&$ant
(o$ei&ne$s, se-ond&ene$ation 6'e$i-ans, and ,o'en in a -han&ed, nont$aditional $ole. He
notes that 'a$&inals, like li'ina$s, a$e also bet,i0t and bet,een, but unlike $itual li'ina$s
they ha1e no -ultu$al assu$an-e o( a (inal stable $esolution o( thei$ a'bi&uity D"u$ne$
19JK:233E. >utside$hood $e(e$s to a-tions and $elationships ,hi-h do not (lo, ($o' a
$e-o&niCed so-ial status but o$i&inate outside o( it D"u$ne$ 19JK:233E. *n e((e-t, outside$hood
is any nont$ansitional antist$u-tu$e that is neithe$ 'a$&inality no$ in(e$io$ity. "u$ne$ -ites as
e0a'ples sha'ans, p$ophets, 'onks, and &ypsies.
*n the analysis o( $eli&ious 2ou$ney, "u$ne$9s &ene$al app$oa-h is both a po,e$(ul tool and in
need o( -la$i(i-ation and de1elop'ent. "u$ne$ ,as p$i'a$ily -on-e$ned ,ith t$ansitional
$ituals he te$'ed li'inal. *n addition, at ti'es he used the ,o$d li'inal in a &ene$al,
in-lusi1e sense o( antist$u-tu$e instead o( one o( the (ou$ (o$'s. "his i'balan-e has lead to
t,o $esults: 'a$&inality, in(e$io$ity, and outside$hoodHand the &ene$al notion o(
nont$ansitional, pe$'anent antist$u-tu$eHha1e la$&ely been i&no$ed, thus lea1in& the (ull
natu$e o( antist$u-tu$e unanalyCed+ and the notion o( li'inality has been identi(ied ,ith the
b$oade$ -on-ept o( antist$u-tu$e. @a$&inality, in(e$io$ity, and outside$hood, ho,e1e$, $e'ain
distin-t and i'po$tant -on-epts in the analysis o( $eli&ious pheno'ena. *n pa$ti-ula$, * su&&est
that Bash9s ,o$ks e0e'pli(y outside$hood, not li'inality, althou&h in his -ase outside$hood
takes on a -o'ple0 (o$'. "o see this ,e need to dis-uss the natu$e o( Bash9s 2ou$neys.
PILGRIMAGE AND WAYFARING
#il&$i'a&e has played a p$o(oundly i'po$tant $ole in 3apanese $eli&ion, and the$e ha1e been
nu'e$ous studies o( 3apanese pil&$i'a&e and its antist$u-tu$al -ha$a-te$ Dsee, (o$ e0a'ple,
:a1is 19838K+ Boa$d 1982+ and @atiso(( 19J9E. "his t$adition helped $ein(o$-e the
i'po$tan-e o( t$a1el in 3apanese lite$atu$e. "$a1el ,as an i'po$tant poeti- the'e, and poeti-
a--ounts o( 2ou$neys be&an as ea$ly as 935 ,ith Ai no "su$ayuki9s 'osa nikki D"osa dia$yE,
,hi-h -on-e$ns a ,o'an9s $etu$n ($o' an outlyin& p$o1in-e to the -apital o( Ayoto
D@-8ullou&h 1985:2!391E. "he pil&$i'a&e t$adition undoubtedly also $ein(o$-ed the
tenden-y o( poets, espe-ially the $eli&ious poets o( the 'edie1al pe$iod D11851!%3E, to 'ake
2ou$neys a pa$t o( thei$ ,ay o( li(e D#luts-ho, and Bukuda 1981E. Be(o$e Bash the poet ,ho
'ost -lea$ly e0e'pli(ied a li(e o( $eli&ious 2ou$neyin& ,as .ai&y D11189%E, the poet Bash
'ost ad'i$ed D5aBleu$ 19JJ, 19J3E.
Be-ause o( his ($e?uent 2ou$neys, Bash is o(ten -alled one o( the pil&$i' poets o( 3apan.
His 2ou$nals p$esent 1isits to holy sites+ one -ould dis-uss at len&th ho, his 2ou$neys $e(le-t
?ualities "u$ne$ -ites as -ha$a-te$isti- o( pil&$i'a&e: si'pli-ity, e?uality, -o''unitas, o$deal,
inti'a-y ,ith death. But e1en thou&h Bash9s 2ou$neyin& is $eli&ious, it is not pil&$i'a&e. *t is
instead a type o( sa-$ed 2ou$ney ne1e$ dis-ussed by "u$ne$: $eli&ious ,ay(a$in&. 5ike
pil&$i'a&e, ,ay(a$in& has been an i'po$tant ele'ent in the 3apanese t$adition, and i( ,e a$e
to be p$e-ise in ou$ inte$p$etation o( 3apanese -ultu$e, ,e need to de1elop the distin-tion
bet,een these t,o types o( sa-$ed 2ou$ney in so'e detail.
#il&$i'a&e has been de(ined as a $eli&ious 2ou$ney both te'po$a$y and lon& to a pa$ti-ula$
site o$ set o( sites ,hi-h a$e in1ested ,ith san-tity by t$adition DBoa$d 1982:232E. *t is
li'ited, then, both spatially and te'po$ally. "u$ne$ has &$eatly a'pli(ied the notion in a
typolo&i-al study o( its p$in-ipal tenden-ies. He (inds in pil&$i'a&e a th$eepa$t st$u-tu$e that
pa$allels the $ites o( passa&e o( t$ibal so-ieties: a sepa$ation ($o' no$'al, st$u-tu$al li(e+ a
'o1e'ent ($o' the 'undane -ente$ to the sa-$ed pe$iphe$y, ,hi-h te'po$a$ily be-o'es
-ent$al+ and a $einte&$ation into no$'al li(e De.&., "u$ne$ 19J9:153E. "he se-ond sta&eHthe
a-tual 2ou$neyHtends to 'ani(est the -ha$a-te$isti-s o( li'inality and -o''unitas that he
obse$1ed in t$ibal $ites o( passa&e. 6s 4illia' 5aBleu$ has noted, "u$ne$9s studies ha1e
'ade it possible to see the pheno'enon o( pil&$i'ate ($o' a ne, an&le, to -onside$ pil&$i's
not only in te$'s o( ,he$e they a$e &oin& but also in te$'s o( 7hat they ha-e left !ehin*( "he
pil&$i'a&e has t,o &eo&$aphi-al lo-ations, ho'e and the pil&$i'a&e $oute+ and it also has
t,o -ont$astin& so-ial situations, the st$u-tu$ed one ,hi-h is le(t behind and the
-o'pa$ati1ely -on1i1ial, e&alita$ian, and unst$u-tu$ed one that -o'es into bein& alon& the
,ay.
D5aBleu$ 19J9:2J2E
6lthou&h the 2ou$neys des-$ibed in Bash9s t$a1el dia$ies ha1e i'po$tant si'ila$ities to
pil&$i'a&e as "u$ne$ has analyCed it, they also e0hibit -$u-ial di((e$en-es. .o'e o( these -an
be seen in the (a'ous openin& to his last t$a1el 2ou$nal, Oku no hosomi1hi D'he narro7 roa*
to the *eep northE:
@onths and days a$e the ,ay(a$e$s o( a hund$ed &ene$ations, the yea$s too, &oin& and -o'in&,
a$e ,ande$e$s. Bo$ those ,ho d$i(t li(e a,ay on a boat, (o$ those ,ho 'eet a&e leadin& a ho$se
by the 'outh, ea-h day is a 2ou$ney, the 2ou$ney itsel( ho'e. 6'on& an-ients, too, 'any died
on a 2ou$ney. 6nd so * tooH(o$ ho, 'any yea$sHd$a,n by a -loud ,isp ,ind, ha1e been
unable to stop thou&hts o( $a'blin&. * $oa'ed the -oast, then last (all b$ushed -ob,ebs o(( the
$i1e$ hut. "he yea$ too &$adually passed, and ,ith sky o( sp$in&9s $isin& 'ist -a'e thou&hts o(
-$ossin& the .hi$aka,a ba$$ie$.
DNB' K!:J%E
"he 2ou$ney des-$ibed he$e is not de(ined by any pa$ti-ula$ sa-$ed site o$ sites, no$ is the$e a
li'ited and li'itin& ti'e ($a'e. Both te'po$ally and spatially this 2ou$ney has neithe$
be&innin& no$ end. *t is e1e$y,he$e and al,ays.
>ne -an de(ine ,ay(a$in& su-h as Bash9s as a 'ode o( li(e that is -onstituted p$in-ipally by a
$eli&ious 2ou$ney o$ 2ou$neys.
K
*t has an inde(inite, unbounded ?uality, both spatially and
te'po$ally, ,he$eas a pil&$i'a&e is al,ays a 2ou$ney to a pa$ti-ula$ site o$ a$ea and is de(ined
by that pla-e De.&., a pil&$i'a&e to *seE. 4ay(a$in& 'ay in-lude 2ou$neys to spe-i(i- pla-es,
e1en t$aditional pil&$i'a&e sites, but it is not de(ined by the'.
"he te'po$al aspe-t o( ,ay(a$in& is also unbounded: ,ay(a$in& has no de(ined end. "his
aspe-t $e(le-ts not only on the physi-al a-t o( the 2ou$ney but also on the &ene$al 'ode o( li(e
o( the 2ou$neye$. * -ould, (o$ instan-e, be a p$o(esso$ and spend se1e$al ,eeks o( ea-h su''e$
,alkin& th$ou&h the 6ppala-hian @ountains ,ithout an itine$a$y o$ destination o$ a
p$edete$'ined ti'e o( $etu$n. But that ,ould not be ,ay(a$in&Hit ,ould be ,ande$in&.
5
*( *
,anted to be-o'e a t$ue ,ay(a$e$, * ,ould need to 'ake ,ande$in& 'y p$i'a$y and endu$in&
'ode o( li(e: one -annot be both a (ullti'e p$o(esso$ and a ,ay(a$e$. <nlike pil&$i'a&e,
,ay(a$in& is not a te'po$a$y b$eak ($o' one9s no$'al li(e+ it is one9s no$'al li(e, and thus
te'po$ally unbounded.
"his distin-tion bet,een ,ay(a$in& and pil&$i'a&e is $e(le-ted in thei$ $espe-ti1e st$u-tu$es.
6s ,e ha1e seen, pil&$i'a&e has t,o &eo&$aphi- lo-ations: ho'e and the pil&$i'a&e $oute+ it
-onsists o( th$ee sta&es: sepa$ation, li'inality, and $einte&$ation. *n -ont$ast, ,ay(a$in& has
one lo-ation: the 2ou$ney. "he$e is no ho'e to &o ba-k to. .i'ila$ly, ,ay(a$in& -onsists not o(
th$ee sta&es but o( one, ,hi-h -o$$esponds to the se-ond sta&e o( the pil&$i'a&e p$o-ess.
"hus, p$ope$ly speakin&, it is not a sta&e at all but a state.
:espite thei$ si'ila$ities, pil&$i'a&e and ,ay(a$in& a$e o( di((e$ent lo&i-al -ate&o$ies.
#il&$i'a&e is a $itual ,he$eas ,ay(a$in& is a 'ode o( li(e. 4ay(a$in& is opposed not to
pil&$i'a&e but to othe$ endu$in& 'odes o( li(e su-h as householde$, -enobite, and an-ho$ite.
#il&$i'a&e, ho,e1e$, is not a 'ode o( li(e but a te'po$a$y -ondition ,ithin a 'ode o( li(e.
#il&$i's -an be householde$s, e1en thou&h they a$e te'po$a$ily sepa$ated ($o' ho'e and
$eleased ($o' thei$ st$u-tu$al $oles and $esponsibilities.
4ay(a$in& is not li'inal in the st$i-t sense o( the te$'. *nstead, it is an e0a'ple o(
outside$hood: it is a pe$'anent Do$ at least inde(initeE sepa$ation ($o' st$u-tu$e that does not
ha1e the st$u-tu$al in(e$io$ity o( ,hat "u$ne$ -alls lo,e$'ost status o$ the si'ultaneous
'e'be$ship in t,o o$ 'o$e st$u-tu$es -ha$a-te$isti- o( 'a$&inality.
!
#il&$i'a&e, then, is
li'inal ,hile ,ay(a$in& is e0te$nal.
J
WAYFARING IN BASH'S LITERARY WORKS
#e$haps the 'ost di$e-t and -on-ise state'ent o( the ,ay(a$in& -ha$a-te$ o( Bash9s 2ou$neys
is (ound nea$ the be&innin& o( his thi$d 2ou$nal, Oi no ko!umi D'he re1or* of a tra-el+7orn
sat1helE:
"abibito to
,a&a na yoba$e'u
hatsushi&u$e
"$a1ele$
,ill be 'y na'e+
(i$st ,inte$ $ain
DNB' K!:52E
"$a1elin& is not a t$ansient b$eak ($o' no$'al li(e+ it is no$'al li(e. "he (inal i'a&e o( the
poe' e'phasiCes the uni1e$sal natu$e o( Bash9s sel(de(inition as ,ell as its -ost: he is
depa$tin& on a lon& 2ou$ney as ,inte$ $ains be&in+ he is a t$a1ele$ at all ti'es and in all
-onditions.
*n the openin& o( his (i$st 2ou$nal, Nozarashi kik/ D'he re1or*s of a 7eather+e:pose*
skeletonE, Bash p$esents anothe$ -o'pa-t state'ent o( ,ay(a$in&: * set out on a 2ou$ney o( a
thousand lea&ues, pa-kin& no p$o1isions. * leaned on the sta(( o( an an-ient ,ho, it is said,
ente$ed into nothin&ness unde$ the 'idni&ht 'oon DNB' K!:3!E. "housand lea&ues is a
sy'boli- nu'be$ su&&estin& unbounded i''ensity. "he 2ou$ney is not de(ined by a pa$ti-ula$
site o$ sites but by its 1e$y inde(initeness. <nbounded in spa-e and ti'e, it be-o'es his 'ode
o( li(e. 4hat is san-ti(ied by t$adition is not the sites 1isited o$ the $ituals pe$(o$'ed but the
,ay(a$in& itsel( and the e0pe$ien-es a-hie1ed.
8
"he notion o( pa-kin& no p$o1isions su&&ests not only the auste$ity o( the t$a1els but also the
inde(initeness o( the distan-e. "he state'ent &ains po,e$ ($o' its allusion to the openin&
sto$y o( the 8huang 'zu, ,hi-h -ente$s on a hu&e bi$d #9en&, said to be able to (ly ninety
thousand li. "he -i-ada and the do1e s-o(( at this idea: they -an ba$ely 'ake it to the ne0t t$ee.
"he na$$ato$, ho,e1e$, &i1es a $athe$ bitin& $eto$t:
*( you &o o(( to the &$een ,oods nea$by, you -an take alon& (ood (o$ th$ee 'eals and -o'e
ba-k ,ith you$ sto'a-h as (ull as e1e$. *( you a$e &oin& a hund$ed li, you 'ust &$ind you$
&$ain the ni&ht be(o$e+ and i( you a$e &oin& a thousand li, you 'ust sta$t &ettin& the p$o1isions
to&ethe$ th$ee 'onths in ad1an-e. 4hat do these -$eatu$es unde$stand=
Dt$ans. in 4atson 19!8:3%E
Bash unde$stands. 5ike the bi$d #9en& he is &oin& on an i''ense 2ou$ney. *t is not a sho$t
t$ip ,ithin one9s no$'al li1in& a$ea, the only kind the -i-ada and do1e -an -o'p$ehend, but an
unbounded 2ou$ney -ut o(( ($o' ho'e. #a-kin& p$o1isions i'plies a ho'e base ($o' ,hi-h
one lea1es te'po$a$ily. /oin& ,ithout su-h p$o1isions, ho,e1e$, su&&ests a $adi-al se1e$in&
($o' one9s p$e-edin& li(e and d,ellin&: the $oad itsel( is ho'e. "o the do1e and -i-ada, su-h a
li(e, su-h a ,o$ld, is uni'a&inable.
"he openin& passa&es ($o' th$ee o( Bash9s 2ou$nals thus st$on&ly su&&est that ,ay(a$in& is
-ent$al to his ,ay o( li(e. But t,o ?uestions need to be add$essed. Bi$st, does the notion o( the
$eli&ious 2ou$ney -han&e ($o' his ea$lie$ to his late$ 2ou$nals, o$ is the notion o( endless
,ay(a$in& (ound th$ou&hout his t$a1el dia$ies= .e-ond, ,hat a$e the distin-ti1e (eatu$es o(
Bash9s ,ay(a$in& ideal=
*t is -o''on to suppose that Oku no !osomi1hi p$esents a di((e$ent ideal ($o' the ea$lie$
2ou$nals. Ho$i 7obuo, (o$ e0a'ple, -lai's that the$e is a -han&e in Bash9s 2ou$neys ($o'
angya Dusually t$anslated as pil&$i'a&eE to hy/haku Dt$anslated as ,ay(a$in& o$
,ande$in&, althou&h su-h t$anslations la-k the spe-i(i- de(inition * ha1e &i1en abo1eE. He
-ites a de-$ease in the use o( the (o$'e$ te$' and an in-$ease in the use o( the latte$ ($o' the
(i$st to the last 2ou$nal DHo$i 19J%:3K95%E.
"his -han&e, ho,e1e$, does not ne-essa$ily indi-ate a shi(t ($o' pil&$i'a&e to ,ay(a$in& as *
use the te$'s. "he -han&e ($o' angya to hy/haku -ould indi-ate, (o$ instan-e, a &$adual
$e-o&nition that the ideal he -ontinues to e'body does, in (a-t, di((e$ ($o' the -on1entional
notion o( pil&$i'a&e. *t also -ould indi-ate a shi(t in e'otional tone ($o' a 'o$e se$ious te$'
to one that su&&ests ($ee(loatin& Dhy/ 'eans to (loatE. *n any e1ent, this -han&e ,as only a
$elati1e one, (o$ Bash uses angya in his late$ ,o$ks as ,ell, in-ludin& Oku no !osomi1hi
DNB' K!:J!E.
*n o$de$ to dete$'ine the -ontinuity and -han&e in Bash9s notion o( the $eli&ious 2ou$ney, ,e
need to e0a'ine not indi1idual te$'s but key passa&es in the 2ou$nals that p$e-ede Oku no
!osomi1hi( * -annot take up all the passa&es that $e(e$ to t$a1elin&, but a dis-ussion o( se1e$al,
in-ludin& so'e that see' to di1e$&e ($o' the notion o( ,ay(a$in&, ,ill help -la$i(y the
-ontinuity o( Bash9s ideal.
7ea$ the openin& o( his (i$st 2ou$nal, Nozarashi kik/, (o$ instan-e, Bash e0pli-itly na'es ;do
Dno, "okyoE as his koky/, ho'eto,n o$ nati1e pla-e, and the 2ou$nal, in (a-t, ends ,ith
his $etu$n to ;do. B$o' this ,e 'i&ht -on-lude that the 2ou$ney des-$ibed is a te'po$a$y
b$eak ($o' li(e in ;do $athe$ than the be&innin& o( a li(e o( ,ay(a$in&.
6 -lose$ look, ho,e1e$, $e1eals a p$edo'inan-e o( ,ay(a$in& i'a&e$y. "he openin& state'ent
-on-e$nin& a 2ou$ney o( a thousand lea&ues is (ollo,ed by an i'a&e o( dyin& by the $oadside:
noCa$ashi o
koko$o ni kaCe no
shi'u 'i kana
Blea-hed bones
on 'y 'ind, the ,ind pie$-es
'y body to the hea$t.
DNB' K!:3!E
6s he sets out, he sees in his 'ind the bitte$ i'pli-ation o( the ideal that he had 2ust
p$o-lai'ed: e1en an endless 2ou$ney -an endHin death on the $oad.
9
"his poe' is
i''ediately (ollo,ed by the one that $e(e$s to ;do as his ho'eto,n:
aki to tose
kaette ;do o
sasu kokyo
6utu'n, ten yea$s:
no, it9s ;do,
the old ho'e.
DNB' K!:3!E
Bash looks to the past and ,hat he is lea1in&, $athe$ than to the (utu$e and its -on-lusion. He
,as bo$n in o$ a$ound <eno in *&a #$o1in-e, but he had li1ed the past de-ade in ;do. *t is
i'po$tant (o$ hi' to na'e this ne, old ho'e. 6s he depa$ts on his unbounded 2ou$ney he
,ants to na'e ,hat he is sepa$atin& hi'sel( ($o': a settled li(e in the th$i1in& 'et$opolis o(
3apan9s ne, -ultu$e.
"he 3apanese te$' (o$ $eti$in& ($o' li(e and ente$in& the Buddhist o$de$ is shukke, lite$ally,
depa$t ($o' the ho'e. $hukke 'a$ks a b$eak ($o' one9s household li(e and ent$an-e into the
li(e o( a p$o(essional $eli&ious. Bash is 'akin& the sa'e kind o( b$eak he$e, althou&h he is
settin& out to li1e not as a 'onk in the 'onaste$y but as a ,ay(a$e$ on the $oad. He on-e le(t
his li(e in his nati1e 1illa&e (o$ the li(e o( a $isin& poet in the -ity. 7o, he is lea1in& his
se-ond old ho'e to ente$ the li(e o( ,ay(a$in&.
"he openin& i'a&e o( a--eptin& death by the $oadside as ine1itable (ate is al'ost i''ediately
$epeated in the (a'ous passa&e o( the abandoned baby. .oon a(te$ his depa$tu$e ($o' ;do,
Bash (inds a baby le(t by the $oadside. He la'ents the baby9s -i$-u'stan-es, ,$ites a
'ou$n(ul poe', and asks ho, it -ould ha1e ended this ,ay. He -on-ludes that this si'ply is
($o' hea1en, and you -an only &$ie1e o1e$ you$ (ate DNB' K!:3JE. "o the puCCle'ent o(
'any -o''entato$s, he lea1es the baby the$e to die. *n (a-t, the baby 'ani(ests the 1e$y
-ondition that he has set out to attain: li(e as a 2ou$ney on the ed&e o( death, ,ith $esi&nation
to ,hate1e$ (ate b$in&s Dsee Ba$nhill 198!E.
"he i'a&e o( death on the 2ou$ney -o'es up on-e a&ain in Nozarashi kik/, but in a su$p$isin&
,ay. 4ell into his 2ou$ney but also ,ell be(o$e its end, Bash states: "hat ni&ht * stayed o1e$
in >&aki, ,ith Bokuin 'y host. 4hen * depa$ted on this 2ou$ney ($o' @usashi #lain, * le(t
,ith thou&hts o( blea-hed bones in a (ield. "hen he ,$ites:
shini 'o senu
tabine no hate yo
aki no ku$e
7ot yet dead:
the 2ou$ney9s endH
autu'n e1enin&
DNB' K!:K%E
"his poe' see's to $e1e$se the i'a&e, and the point, o( the openin& passa&e o( the 2ou$nal.
But a -lose$ look su&&ests that Bash is a-tually $e(inin&, not $e1e$sin&, his notion o( death on
the $oad. :onald Aeene has stated that Bash 'ay ha1e (elt that the 'ost di((i-ult pa$t o( the
2ou$ney ,as o1e$+ othe$,ise hate is ha$d to unde$stand DAeene 1959:139 n.5E. Hate ,ould be
ha$d to unde$stand i( Bash -onside$ed the end o( the 2ou$ney to be a $etu$n to ,he$e he
sta$ted. But i( the end o( the 2ou$ney, in the sense o( a &oal, is si'ply to be on the $oad, the
use o( hate he$e is ?uite easy to unde$stand. :eath by the $oadside ,ill, in (a-t, -o'e to the
,ay(a$e$, but until that ti'e, the ta!ine no hate is to -ontinue on the 2ou$ney, stayin& at inns
and the ho'es o( ($iends. Bash he$e -o'pletes the notion o( 2ou$ney9s end: it is the
-ontinuin& on the $oad as ,ell as the dyin& beside it.
Nozarashi kik/ -on-ludes ,ith Bash ba-k at his hut in ;do. 7obuyuki Guasa t$anslates the
(inal p$ose passa&e as (ollo,s: * $ea-hed ho'e at lon& last to,a$ds the end o( 6p$il DGuasa
19!!:!KE. "his t$anslation (ollo,s the -on1entional inte$p$etationHBash as a te'po$a$y
,ande$e$, &lad to be ba-k ho'eH'o$e than it does the te0t. "he te0t $eads si'ply:
"he end o( 6p$il, * $etu$ned to 'y hut, and ,hile $estin& ($o' the pains o( the 2ou$ney,
natsu&o$o'o
i'ada shi$a'i o
totitsukaCu
.u''e$ -lothes:
still so'e li-e
yet to pi-k
DNB' K!:KKE
"he 2ou$nal ends ,ith $etu$n and a -essation o( the t$a1el, yet the$e is neithe$ a de-la$ation o(
bein& ho'e no$ &ladness (o$ 2ou$ney9s end. *ndeed, the (inal i'a&e su&&ests that the 2ou$ney
does, in a 1e$y 'undane ,ay, lin&e$ ,ith hi'.
"he (a-t that the 2ou$nal ends ,ith a $etu$n to his hut does, ho,e1e$, unde$-ut the the'e o(
endless 2ou$ney that pe$1ades 'ost o( the te0t. *n his t,o othe$ 'a2o$ 2ou$nals, Oi no ko!umi
and Oku no hosomi1hi, Bash p$esents a 'o$e un?uali(ied i'a&e o( ,ay(a$in&, and he ne1e$
a&ain ends a 2ou$nal ,ith a $etu$n. Oi no ko!umi, as ,e ha1e seen, opens ,ith an e0pli-it
de-la$ation o( his sel(identity as a ,ay(a$e$: t$a1ele$ ,ill be 'y na'e. 5ate$ in the 2ou$nal
he and a -o'panion he 'et on the 2ou$ney ,$ite on thei$ hats: t,o (ello, ,ay(a$e$s ,ith no
abode in hea1en and ea$th DAenkon 'u2Q d&y ninin+ NB' K!:58E. "his idea is $epeated
late$ ,hen he states that (o$sakin& all (i0ed abodes, * had no desi$es (o$ thin&s to o,n
D.u'iki o sa$ite, kibutsu no ne&ai nashi+ NB' K!:!1+ .u'iki o sa$ite lite$ally 'eans
lea1e the nestE.
;a$ly in Oi no ko!umi Bash does $e(e$ to ,hat see's to be a li'ited pe$iod. Be-ause his
($iends help hi' &et $eady (o$ depa$tu$e, he states that * didn9t ha1e to put any e((o$t into the
th$ee 'onths9 p$epa$ations DAano san&etsu no kate o atsu'u$u ni -hika$a o i$eCu+ NB'
K!:53E. But the $e(e$en-e to th$ee 'onths9 p$o1isions a-tually su&&ests a li'itless 2ou$ney
$athe$ than a li'ited one. 6s he did in the openin& o( Nozarashi kik/, Bash is $e(e$$in& to the
ph$ase in the 8huang 'zu that states that a 2ou$ney o( a thousand lea&ues usually -alls (o$
th$ee 'onths9 p$o1isions. >n-e a&ain Bash is su&&estin& the notion o( an i''ense 2ou$ney.
6nd indeed the 2ou$nal ends ,hile he is still on the $oad.
@o$e passa&es -ould be analyCed, but the ans,e$ to the (i$st ?uestion see's -lea$. 6lthou&h
Bash9s ,ay(a$in& ideal 'ay be 'o$e tho$ou&hly and -onsistently de1eloped in Oku no
hosomi1hi, the ea$lie$ 2ou$nals a$e also p$i'a$ily -ha$a-te$iCed by this ideal. "he -han&e in his
2ou$nals is not a shi(t ($o' one 'ode o( $eli&ious 2ou$ney to anothe$ but si'ply a &$o,th in
sophisti-ation and uni(o$'ity o( e0p$ession.
"he se-ond ?uestion -on-e$ns the spe-i(i- natu$e o( Bash9s o,n ,ay(a$in& ideal. #e$haps the
t,o 'ost inte$estin& and i'po$tant aspe-ts a$e its double -ha$a-te$ and its non-o'pletion.
"he doubled -ha$a-te$ is seen 'ost e0pli-itly in the (a'ous openin& o( Oku no hosomi1hi,
-ited abo1e. "he endless 2ou$ney is not 'e$ely a pe$sonal 'ode o( li(e+ it is also the
(unda'ental natu$e o( all li(e all o( the ti'e. "he passa&e e0p$esses Bash9s atte'pt to (use
the t,o notions o( endless 2ou$ney. 6ll peopleHand all thin&sHa$e on a 2ou$ney that ends
only ,ith death, but a pe$son also -an -hoose to $ealiCe that -ondition, to li1e inti'ately ,ith
it. Bash9s ,ay(a$in& is an atte'pt to e'body physi-ally and $e(le-t sy'boli-ally the p$i'a$y
-ha$a-te$ o( e0isten-e.
"he st$u-tu$e o( the passa&e 'i$$o$s the doubled st$u-tu$e o( the endless 2ou$ney. "he (i$st
t,o senten-es $e(e$ to the (unda'ental, uni1e$sal -ondition o( li(e. 6nd so * too V $e(e$s to
the physi-al a-t o( t$a1elin&. But in the senten-e be&innin& @any an-ients, too V the notion
o( 2ou$ney has a double (un-tion, 'u-h like a kakekoto!a Dpi1ot ,o$dE in a 3apanese poe'.
"hus, the senten-e is i$oni-. *( 2ou$ney is the essential, ines-apable -ondition o( hu'an li(e,
then e1e$yone dies on a 2ou$ney. But the an-ients, and Bash, sou&ht to e'body and $e(le-t
that -ondition, thus 2oinin& the sy'boli- and physi-al aspe-ts o( the 2ou$ney.
Bash9s 2ou$nals $e(le-t an intense -on-e$n ,ith death, and his doubled notion o( the 2ou$ney
is inti'ately $elated to it. *n the openin& to Oku no hosomi1hi, his a,a$eness o( the
2ou$neylike -ha$a-te$ o( li(e e'phasiCes the ine1itability o( death: the 2ou$ney ,ill end only
,ith death. *n a passa&e ($o' $arashina kik/ DA -isit to $arashina -illageE, the e0pe$ien-e o(
t$a1elin& the ba-k$oads o( 3apan $e1eals the i''inen-e o( death. Bash and his -o'panions
a$e 'akin& a steep -li'b to the 1illa&e o( .a$ashina ,ith Bash on ho$seba-k. >ut o( pity (o$
a 'onk ,ho is bu$dened ,ith an e0t$e'ely hea1y load, his -o'panions pile the 'onk9s
bundles onto the ho$se. Bash is le(t on top o( these bundles, teete$in& on an un-e$tain 'ount
as the 'ountain path na$$o,s:
>1e$head hi&h 'ountains and st$an&e peaks hun& in laye$s. >n 'y le(t a &$eat $i1e$ (lo,ed+
belo, ,as a p$e-ipi-e that see'ed to d$op a thousand (eet. "he$e ,as not a sin&le pie-e o(
le1el &$ound, and * ,as te$$i(ied to be in the saddle. "he (eat si'ply ,ould not lea1e.
DNB' K!:!!E
Bash de-ides the situation is too 'u-h (o$ hi' and dis'ounts. 6 se$1ant, ho,e1e$, has no
su-h (ea$s and p$o'ptly takes his pla-e.
4e passed th$ou&h Aakehashi and 7eCa'e, then .a$u&ababa and "a-hito&e o( the Bo$ty
ei&ht "u$nin&s. "he t$ail ,ound a$ound as i( on a path,ay to the -louds. ;1en on (oot * ,as
diCCy and shaken, 'y le&s t$e'blin&, yet the se$1ant sho,ed no si&ns o( (ea$ and kept doCin&
on top o( the ho$se. @any ti'es * thou&ht he su$ely ,ould (all+ * ,as te$$i(ied as * looked up
($o' behind. /aCin& upon the sentient bein&s o( this t$ansito$y ,o$ld, the 5o$d Buddha 'ust
(eel the sa'e. 4hen ,e $e(le-t upon the un$e'ittin& s,i(tness o( -han&e, ,e -an see ,hy it is
said: the ,hi$lpool o( 6,a is ($ee o( ,ind and ,a1es.
DNB' K!:!!!JE
"he $e(e$en-e to the ,hi$lpool o( 6,a de$i1es ($o' a popula$ Buddhist poe': 8o'pa$ed to
ou$ 2ou$ney th$ou&h this ,o$ld, the ,hi$lpool o( 6,a is ($ee o( ,ind and ,a1es Dt$ans. in
Aeene 19J1:129E. 5i(e is tu$bulent, -han&e is ine0o$able and s,i(t, and ,e a$e all like the
se$1ant, $idin& p$e-a$iously on the ed&e o( death.
Bash9s ,ay(a$in& not only $e(le-ts but also e0poses hi' to the basi- (ab$i- o( e0isten-eHand
thus to the sha$ed hu'an -ondition. "he unbounded 2ou$ney that ends only ,ithHand that
al,ays is -lose toHdeath is the essential bond bet,een a ho$se &uide and the an-ients, the
passin& days and Bash9s passin& li(e. *n "u$ne$9s te$'inolo&y, ,ay(a$in& as a sy'bol
e0p$esses an essential and &ene$i- hu'an bond the (oundation o( -o''unitas Da $elational
?uality o( (ull un'ediated -o''uni-ation, e1en -o''union+ "u$ne$ 19J9:15%E. *t e0p$esses
,hat is p$io$ to st$u-tu$e: the boat'an, ho$se &uide, and poet a$e allHp$i'a$ilyH,ay(a$e$s.
.t$u-tu$e 'ay di1ide the' into $oles and statuses, but thei$ (unda'ental unity $e'ains. 4he$e
othe$s 'ay see only st$u-tu$al $ules and $oles, Bash sees the unde$lyin& -o''unitas o( li(e.
Related to the doubled, sy'boli- natu$e o( Bash9s ,ay(a$in& is anothe$ aspe-t:
non-o'pletion. 6 pil&$i'a&e -li'a0es in the 1isit to the sa-$ed site, and it is -o'pleted by a
$etu$n to ho'e and st$u-tu$e. 4ay(a$in&, ho,e1e$, is openended: the$e is neithe$ -li'a0 no$
-o'pletion.
*n Bash9s ,$itin&s, non-o'pletion is a de1eloped and i'po$tant the'e. 8e$tain passa&es and
poe's p$esent i'pe$(e-tion and non-o'pletion as an essential pa$t o( his $eli&ious 'ode.
"o'o$$o, * ,ill be-o'e a -yp$essS an old t$ee in a 1alley on-e said. Geste$day has passed
as a d$ea'+ to'o$$o, has not yet -o'e. *nstead o( 2ust en2oyin& a -ask o( ,ine in 'y li(e, *
keep sayin& to'o$$o,, to'o$$o,, se-u$in& the $ep$oo( o( the sa&es.
.abishisa ya
hana no ata$i no
asuna$D1%E
5oneliness:
a'on& the blosso's
an asuna$
DNB' K!:15KE
"he asunar/ is an unusual t$ee that looks like a -yp$ess ,hose ,ood is hi&hly p$iCed. *t is not,
ho,e1e$, ,hat it appea$s to be. 5ite$ally, asunar/ 'eans to'o$$o, * ,ill be-o'e, and the
-onte0t i'plies to'o$$o, * ,ill be-o'e a -yp$ess. Be-ause the asunar/ see's to be ,hat it
is not, it (alls sho$t o( ,hat one 'i&ht e0pe-t it to a-hie1e. .tandin& a'on& the beauti(ul
blosso's, itsel( ,ithout any b$i&ht -olo$ o$ ($uition, the asunar/ e1okes a sense o(
in-o'pletion and loneliness.
Bash9s identi(i-ation ,ith the the'e o( non-o'pletion is e0pli-it: he is in-o'plete, like the
asunar/( Be-ause the t$ee is old, it see's likely that -o'pletion ,ill ne1e$ -o'e+ its natu$e is
to be un(inished. "his is Bash9s natu$e as ,ell.
"he the'e o( non-o'pletion is seen in t,o o( Bash9s poe's:
7atsu kite 'o
tada hitotsu ha no
hito ha kana
.u''e$ -o'es:
2ust one lea(
on the onelea( (e$n
DNB' K5:121E
*n su''e$, e1e$ythin& &$o,s in (ull 1e$dan-y, and a plant that bea$s 2ust one lea( stands out
as in-o'plete. Bash st$on&ly e'phasiCes this dispa$ity ,ith the $epetition o( hito DoneE and
the use o( ta*a DonlyE. "he dissi'ila$ity bet,een the (e$n and the $est o( the s-ene e1okes a
sense o( aloneness, also e'phasiCed by the ,o$d hitotsu( *t is a -o'ple0 the'e. 8o'pa$ed to
othe$s, the onelea( (e$n appea$s in-o'plete, but be-ause its t$ue natu$e is to ha1e only one
lea( its in-o'pleteness is t$ue to that natu$e.
"he the'e o( in-o'pleteness is also e'bodied in this poe', and a&ain a sense o( loneliness is
e1oked.
Ao-h ni 'o
na$ade aki (u$u
na 'ushi kana
6utu'n -o'es
,ithout it be-o'in& a butte$(ly+
the $ape ,o$'
DNB' K5:191E
6utu'n has -o'e, lea1es ha1e be-o'e -olo$(ully tinted, and beauti(ul butte$(lies ha1e
e'e$&ed ($o' thei$ -o-oons. Get the $ape ,o$' -o'es to no ob1ious t$ans(o$'ation. Be-ause
it is di((e$ent, it stands alone in a s-ene o( b$i&ht beauty. But a&ain, this non-o'pletion is not
a te'po$a$y -ondition o$ the $esult o( (ailu$e. *t is the ani'al9s t$ue natu$e.
"he nation o( non-o'pletion is tied to Bash9s doubled notion o( ,ay(a$in&. 6ll thin&s a$e
,ay(a$e$s and ea-h day is a 2ou$ney. 5i(e as a ,hole is a 2ou$ney that is ne1e$ -o'plete but is
si'ply stopped by death. >ne is al,ays on the $oad: the$e is no -li'a0 o$ -o'pletion to li(e9s
2ou$ney.
11
Bash p$esents his notion o( non-o'pletion in a -o'ple0, al'ost pa$ado0i-al ,ay: the idea o(
an endu$in& -ondition is -o'bined ,ith a st$on&ly t$ansitional ?uality. *'pe$(e-tion is neithe$
a te'po$a$y state endin& in pe$(e-tion no$ a state 'a$ked by stasis o$ sta&nation. "he $ape
,o$', onelea( (e$n, and asunar/ al,ays $e'ain as they a$e, in-o'plete -o'pa$ed to ,hat is
t$aditionally p$iCed. 6s i'a&es o( pe$petual t$ansition, they also st$on&ly su&&est
de1elop'ent.
"his aspe-t o( Bash9s o$ientation $e(le-ts an i'po$tant ?uality "u$ne$ asso-iates ,ith
li'inality. 5i'ina$s a$e neophytes, entities in t$ansition D"u$ne$ 19!9:1%3E. Bash p$esents
hi'sel( as a kind o( neophyte, not yet (ully de1eloped. But (o$ hi' this state is not li'inal,
pa$t o( a te'po$a$y $itual p$o-ess. *t is an essential pa$t o( his pe$'anent -ondition.
Bash9s antist$u-tu$e, then, -o'bines the pe$'anen-e o( outside$hood ,ith the t$ansitional
?uality o( li'inality. @o$eo1e$, the pe$'anen-e o( this bet,i0t and bet,een status, ,hi-h
"u$ne$ usually asso-iates ,ith li'inality, $e-alls his notion o( 'a$&inality. 6 'a$&inal, as ,e
ha1e seen, is a si'ultaneous 'e'be$ o( t,o o$ 'o$e &$oups ,hose no$'s 'ay be opposed to
ea-h othe$. *n the (i$st t,o passa&es -ited in this a$ti-le, and in othe$ passa&es as ,ell, Bash
p$esents hi'sel( not only as bet,i0t and bet,een but also as both and. "hus, the bat has
the ?ualities o( both a bi$d and a 'ouse. Bash9s antist$u-tu$e 2oins the t$ansitional ?uality o(
li'inality and the 'ultiple but pa$tial 'e'be$ship o( 'a$&inality to the (unda'entally
e0te$io$ ?uality o( ,ay(a$in&.
THE BAT AND THE BIRD
"he natu$e o( Bash9s ,ay(a$in&Hthe antist$u-tual -ha$a-te$, the doubled natu$e, the ?uality
o( non-o'pletionHhelps e0plain a nu'be$ o( passa&es in his ,o$ks. *n his en-ounte$ ,ith the
.hinto sh$inekeepe$, Bash is a,a$e o( hi'sel( as neithe$ a laype$son no$ a 'e'be$ o( an
o$thodo0 $eli&ious &$oup, and the a'bi&uity o( his identity is e'phasiCed by the (a-t that the
sh$inekeepe$ 'istakes hi' (o$ a Buddhist p$iest. "he sh$inekeepe$ Dlike so'e anth$opolo&ists
"u$ne$ -$iti-iCesE kno,s only st$u-tu$e: (o$ hi' one 'ust be eithe$ a laype$son o$ a p$iest, and
be-ause Bash is -lea$ly $eli&ious but not .hinto, he 'ust be a Buddhist 'onk.
"he en-ounte$ is an e0-ellent e0a'ple o( st$u-tu$e9s e((e-ts. .t$u-tu$e, "u$ne$ says, is all that
holds people apa$t, de(ines thei$ di((e$en-es, and -onst$ains thei$ a-tions D"u$ne$ 19JK:2JKE.
"he sh$inekeepe$9s $esponse -e$tainly holds apa$t, de(ines Dho,e1e$ in-o$$e-tlyE, and
-onst$ains.
Bash p$esents hi'sel( as an antithesis to this kind o( st$u-tu$al attitude. *nstead o( $elatin& to
people on the basis o( thei$ sepa$ate and sepa$atin& $oles, he -onside$s all people (ello,
,ay(a$e$s on a 2ou$ney that is e1e$ -lose to, and only ends ,ith, death. 6s the sh$inekeepe$
passa&e su&&ests, Bash9s pa$ti-ula$ antist$u-tu$al o$ientation -onsists o( t,o p$i'a$y
?ualities: he is -lothed in $eli&ious $obes and -o1e$ed ,ith dustHhe is $eli&ious and
in-o'plete. Bo$ hi' the t,o &o hand in hand.
*t is inte$estin& to -o'pa$e this sel(po$t$ait ,ith the des-$iption o( anothe$ 'an d$essed in
'onk9s $obes, this one an a-tual Buddhist p$iest ,ho ob1iously is not -on-e$ned about
i'pe$(e-tion Dsee the openin& ?uotation abo1eE. "his bi$d o( se-tatian Buddhis', 'o$e like a
-o-k than a -$o,, st$uts and thu'ps, displayin& his sel(satis(a-tion and p$ide. 8on(ident o(
spi$itual su--ess, he -a$$ies its i'a&e on his ba-k: a statue o( the Buddha des-endin& the
'ountain a(te$ enli&hten'ent.
Be-ause o( this sel(e0altation, he ,alks ahead o( othe$s and see's to be t$a1elin& alone.
12

"he$e is little -o''unitas in hi', no le1elin&, st$ippin&, o$ -o''union. He is the 1e$y
antithesis o( these ?ualities, -o'(o$tably abo1e and beyond the othe$s and -o1e$ed not ,ith
dust but ,ith i'a&es o( his supe$io$ity and distin-tion.
"he 'onk is -lea$ly an e'bodi'ent o( st$u-tu$e: he lite$ally -a$$ies it ,ith hi'. *t pe$1ades
his 'o1e'entsHhis thu'pin& and st$uttin&Has ,ell as his appea$an-e. *n -ont$ast, Bash
pla-es hi'sel( outsideHand bet,eenHthis st$u-tu$al 'ode and that o( the lay'an. He takes
on the statusless status Dand also the $ole o( -$iti- o( st$u-tu$eE that "u$ne$ sa, in the
sha'ans o( .ao$a.
*n e0t$e'e -ases, su-h as the a--eptan-e o( the sha'an9s 1o-ation a'on& the .ao$a o( @iddle
*ndia V Xthe $ite o( passa&eY 'ay $esult in the t$ans(o$'ation o( ,hat is essentially a li'inal
o$ e0t$ast$u-tu$al phase into a pe$'anent -ondition o( sa-$ed outside$hood. "he sha'an o$
p$ophet assu'es a statusless status e0te$nal to the se-ula$ so-ial st$u-tu$e, ,hi-h &i1es hi'
the $i&ht to -$iti-iCe all st$u-tu$ebound pe$sonae in te$'s o( a 'o$al o$de$ bindin& on all.
D"u$ne$ 19!9:11!1JE
Bo$ the sa-$ed outside$ Bash, st$u-tu$e is not 'e$ely se-ula$ so-ial st$u-tu$e but st$u-tu$al
$eli&ion as ,ell, e0e'pli(ied by the p$iest and the .hinto sh$inekeepe$.
13
"he 'o$al o$de$
bindin& on all is the (unda'ental unity o( all thin&s as ,ay(a$e$s. 4hate1e$ thei$ status 'ay
be, all people a$e on a 2ou$ney that is ne1e$ -onsu''ated but is 'e$ely -ut sho$t by death.
Bash sees -o'pletion and pe$(e-tion neithe$ in hi'sel( no$ in any othe$ pe$son: his ,o$ld
si'ply does ot in-lude it e0-ept as p$etense, the ob2e-t o( i$ony and hu'o$.
Bo$ Bash non-o'pletion is uni1e$sal and (unda'ental. 6ll o( us a$e $ape ,o$'s, onelea(
(e$ns, and asunar/( 6ll o( us a$e ,ay(a$e$s. 4e -an, ho,e1e$, -hoose to $e(le-t and e'body
these essential aspe-ts o( li(e by li1in& as a ,ay(a$e$ and $e-o&niCin& the uni1e$sally sha$ed
in-o'pleteness o( the spi$itual 2ou$ney. "o do so is to e0ist outside the st$u-tu$al (o$'s o( the
se-ula$ and sa-$ed yet to pa$take o( the i'pe$(e-tion o( the one and the $eli&ious se$iousness
o( the othe$. "o do so, in othe$ ,o$ds, is to be a bat.
CONCLUSION
Bash9s ideal o( ,ay(a$in& and antist$u-tu$e is a p$odu-t o( a -o'ple0 $eli&ious 1ision. "he
spe-i(i- -ha$a-te$ o( that 1ision is uni?ue, yet it is also a de1elop'ent o( -e$tain t$aditional
-on-e$ns and t$ends in 3apanese $eli&ion and lite$atu$e. 5o-atin& Bash in his t$adition -annot
be done (ully he$e, but it is app$op$iate to -on-lude by at least su&&estin& one aspe-t o(
Bash9s -ontinuity ,ith his t$adition: his $e2e-tion o( dualities. .u-h an abb$e1iated
-onte0tualiCin& o( Bash -an also su&&est so'ethin& about the $eason he de1eloped his ideal
o( ,ay(a$in& and his batlike $eli&ious stan-e.
8lea$ly the p$a-ti-e o( t$a1elin& the -ount$yside ,as -o''on in the $eli&ious and lite$a$y
t$aditions o( 3apan. But that p$a-ti-e $aises i'po$tant ?uestions (o$ those ,ho take it se$iously.
*s the p$i'a$y and ideal (o$' o( $eli&ious t$a1elin& that o( pil&$i'a&e, in ,hi-h the 2ou$ney is
di$e-ted to,a$d and de(ined by a pa$ti-ula$, holy pla-e= *s it ,ande$in&, ,hi-h, like
pil&$i'a&e, is a te'po$a$y b$eak ($o' one9s p$i'a$y li(estyle but, unlike pil&$i'a&e, is not
li'ited to a pa$ti-ula$ pla-e o( $e1e$en-e= >$ is it ,ay(atin&, in ,hi-h one9s basi- li(e 'ode
be-o'es that o( t$a1elin&, in ,hi-h one9s old ho'e is le(t and the 2ou$ney is itsel( ho'e=
.u-h ?uestions be-o'e 'o$e a-ute ,hen the t$a1ele$ is a si&ni(i-ant $eli&ious thinke$, as
Bash -e$tainly ,as. Bash9s ideal o( ,ay(a$in& and his antist$u-tu$al $eli&ious postu$e a$e not
only his ans,e$ to the ?uestion o( the ideal natu$e o( $eli&ious 2ou$neyin&+ they also -onstitute
his $esolution o( t,o -on1entional di-hoto'ies: p$a-ti-e and &oal, and i'pe$(e-tion and
pe$(e-tion. 5ike othe$s be(o$e hi', Bash unde$-uts the duality o( p$o-ess and &oal. *n the
-on1entional unde$standin& o( Buddhis' these t,o aspe-ts o( $eli&ious li(e (un-tion as
di-hoto'ies: a pe$son p$a-ti-es to attain the &oal, ,hi-h -onstitutes the end o( p$a-ti-e. But
the t$adition 4illia' 5aBleu$ has -alled diale-ti-al Buddhis' D5aBleu$ 1983E has tended to
$e2e-t the duality o( su-h a 1ie,. "he Ien 'aste$ :&en D12%%1253E, (o$ e0a'ple, is (a'ous
(o$ his do-t$ine o( the unity o( p$a-ti-e and attain'ent D6be 1985E. Bash9s notion that the
2ou$ney itsel( is ho'e is a pa$t o( this uni(yin& t$adition, and the e0a-t $elation bet,een his
1ie, and the 1ie,s de1eloped by othe$s in the 3apanese $eli&ious t$adition $e'ains an
int$i&uin& a$ea (o$ $esea$-h.
6 $elated di-hoto'y, bet,een i'pe$(e-tion and pe$(e-tion, also has been unde$-ut in
3apanese $eli&ion. 6&ain, a -o'pa$ati1e $e1ie, o( the t$adition o( 2oinin& pe$(e-tion and
i'pe$(e-tion ,ould yield inte$estin& $esults. >n the one hand, the Buddhist do-t$ine o(
hongaku, o$i&inal enli&hten'ent, su&&ests that althou&h ,e e0pe$ien-e li(e as i'pe$(e-t, ,e
Hand li(eHa$e in (a-t pe$(e-t. "his do-t$ineHthat in so'e sense i'pe$(e-tion is an illusion
His de1eloped ,ith pa$ti-ula$ subtlety by :&en. >the$s, ho,e1e$, ha1e su&&ested that the
di-hoto'y dissol1es be-ause in so'e sense i'pe$(e-tion is ne1e$endin&, and pe$(e-tion
-onsists in a -o'plete $e-o&nition o( and en&a&e'ent in that i'pe$(e-tion. *n the 6'idist
t$adition .hin$an D11J312!2E de1eloped the #u$e 5and notion that ,e a$e so deeply
ent$en-hed in ou$ ,eaknesses that ,e -an ne1e$ be-o'e enli&htened. "he ideal is to &i1e up
(ully, to abandon -o'pletelyHpe$(e-tlyHany notion o( a-hie1in& pe$(e-tion by &iriki Dsel(
po,e$E DBloo' 19!5E. *n the Ien t$adition .uCuki .hsan D15J91!55E espoused a do-t$ine o(
-o'plete abso$ption in an attitude o( -easeless dis-ipline o( a (la,ed spi$it, to the point o(
$e2e-tin& an e0pe$ien-e that see'ed -lea$ly to be enli&hten'ent DAin& 198!: esp. KE.
*t is i'po$tant to $ealiCe that su-h unde$-uttin& o( dualities is not -on(ined to Buddhis'. "he
.hinto s-hola$ @otoo$i 7o$ina&a D1J3%18%1E p$esented anothe$ -o'ple0 ideal o(
i'pe$(e-tion. Bo$ hi' the hi&hest $eli&ious state is one that 'ani(ests -lea$ly the e'otional
,eakness o( hu'an natu$e. 6nyone ,ho appea$s ,ithout su-h ,eakness is bein& $eli&iously
dishonest DBa$nhill 1988E. 6n e0a'ination o( the pla-e o( Bash9s ideal o( non-o'pletion in
the 3apanese t$adition o( (usin& i'pe$(e-tion and pe$(e-tion ,ould illu'inate the e0tent and
li'its o( his uni?ueness.
Bash9s $esolution o( these di-hoto'ies yields a po,e$(ul $eli&ious 1ision. Bo$ Bash the
,ay(a$e$ both lite$ally and (i&u$ati1ely t$a1els a ne1e$endin& $oad, a spi$itual path that ne1e$
b$in&s a $eal sense o( pe$(e-tion. "he ,ay(a$e$9s only &oal is to p$a-ti-e ,ay(a$in& in a (ully
authenti- ,ay. *n the i'a&e$y o( Bash9s 2ou$nals, the &oal is not to -on-lude the 2ou$ney at a
pa$ti-ula$ destination but to -$oss yet anothe$ ba$$ie$ and li1e on the ed&e o( death Dsee
Ba$nhill 198!:339E. 5ike a $ape ,o$', a onelea( (e$n, o$ an asunar/, he is -ontinually
in-o'plete but 2ust as -ontinually on the ,ay, the only pe$(e-tion bein& a (ull a--eptan-e o(
unendin& in-o'pleteness.
Notes
1. "he (ollo,e$ o( the poeti- spi$it is Gasuha$a "eishitsu D1!1%J3E. "he /ateless /ate
$e(e$s to the )u+men+kuan D"umonkan in 3apaneseE, a -olle-tion o( koans na'ed a(te$
the 8hinese 'onk 4u'en Dlite$ally, no&ate+ 118312!%E, ,ho edited the
-olle-tion. His poe' in the p$e(a-e to this ,o$k $eads:
"he &$eat path has no &ates
"housands o( $oads ente$ it.
4hen one passes th$ou&h this &ateless &ate
He ,alks ($eely bet,een hea1en and ea$th.
D"$ans. in Reps n.d.:88E
"he te$' t$anslated he$e as ($eely also 'eans alone.
2. Be-ause so 'u-h o( Bash9s p$ose is ,$itten in the (i$st pe$son, it is easy to -on(use
the autho$ o( the ,o$ks ,ith the pe$sona in the'. *t is i'po$tant, ho,e1e$, to
distin&uish the t,o Bashs. "he te0ts a$e not ob2e-ti1e autobio&$aphy Di( su-h a thin&
is possibleE but lite$atu$e. "he pe$sona Bash is a lite$a$y -onst$u-t and in that sense
(i-tional. ;0-ept ,he$e * a' ob1iously $e(e$$in& to the autho$, the te$' Bash in
this a$ti-le $e(e$s to the pe$sona in the te0t.
3. "he$e is a lon& and i'po$tant t$adition in 3apan o( bein& both $eli&ious and outside the
-on1entional, se-ta$ian $eli&ious &$oups. @eCaki 19J5a, (o$ e0a'ple, dis-usses the
distin-tion bet,een shukke and tonsei: shukke $e(e$s to a li(e ,ithin a 'onasti-
establish'ent ,he$eas tonsei $e(e$s to a $eli&ious li(e unatta-hed to 'onasti- $e&i'e.
6 histo$i-al study o( Bash ,ould lo-ate hi' a'on& ,hat @eCaki -alls suki no
tonseisha: aestheti- $e-luses. *n this essay, ho,e1e$, * a' -on-e$ned not ,ith
Bash9s pla-e ,ithin that t$adition but ,ith his sin&ula$ity and the uni?ue ,ay he
po$t$ays hi'sel( in the t$a1el 2ou$nals.
K. Boa$d 1982:232 notes the distin-tion bet,een pil&$i'a&e and $eli&ious ,ay(a$in& but
he does not dis-uss the notion o( ,ay(a$in&. * adopt his use o( the te$' ,ay(a$in& as
a (o$' o( $eli&ious t$a1el distin-t ($o' pil&$i'a&e, but * &i1e it 'y o,n de(inition.
5. "he 3apanese te$' 'ost $ele1ant to this dis-ussion is hy/haku( "he$e ha1e been
se1e$al studies o( the t$adition o( hy/haku in 3apan, in-ludin& the hy/haku o( Bash,
,hi-h tend to -on-ei1e o( the te$' as a 2ou$ney ,ithout itine$a$y o$ destination.
6lthou&h Bash9s 2ou$neys do ha1e a si&ni(i-ant de&$ee o( inde(initeness about thei$
itine$a$y and destination, Bash usually had spe-i(i- sites he e0pe-ted to see alon& the
,ay, ,hi-h at least loosely de(ined his itine$a$y. 4ay(a$in& is inde(inite not be-ause it
la-ks a p$e-on-ei1ed itine$a$y but be-ause it la-ks a -li'a0 at a pa$ti-ula$ site Das in
pil&$i'a&eE and a (i0ed abode to $etu$n to Das in ,ande$in&E. Bo$ a -olle-tion o(
essays on Bash9s itine$ant li(estyle, see *'oto 19J%+ (o$ a &ene$al t$eat'ent o(
hy/haku, see @eCaki 19J5b.
!. By desi&natin& this typolo&i-al pa$adi&', * a' not i'plyin& that histo$i-al instan-es
o( ,ay(a$in& -annot sha$e so'e o( the ?ualities o( 'a$&inality o$ in(e$io$ity. *n (a-t, *
,ill a$&ue that Bash9s outside$hood has -e$tain ?ualities o( 'a$&inality and e1en
li'inality.
J. "u$ne$ used the te$'s li'inal, in(e$io$, and 'a$&inal as ad2e-ti1al (o$'s o( li'inality,
in(e$io$ity, and 'a$&inality. "he only ad2e-ti1al e?ui1alent to outside$hood he see's
to ha1e used is e0te$nal D"u$ne$ 19!9:11!1JE.
8. "he an-ient $e(e$$ed to in the passa&e is &ene$ally -onside$ed to be the 8h9an
Buddhist 'onk Auan&,en D118912!3E. "his passa&e also $e(e$s to the (i$st -hapte$
o( the 8huang 'zu, B$ee and ;asy 4ande$in&. By $e(e$$in& to t,o (i&u$es o(
di((e$ent $eli&ions and ,idely di((e$ent histo$i-al pe$iods, Bash pla-es hi'sel( in the
&ene$al t$adition o( $eli&ious ,ay(a$in& in ;ast 6sia.
9. <'eba$a "akeshi has noted that $esi&nation to the ine1itability o( his death is -ent$al
to Bash9s $eli&ious 1ision and poeti- -$eati1ity, and it is p$esent in his (i$st 2ou$nal as
,ell as his last. .ee <'eba$a 19J%:3%5.
1%. "he asunar/ is 'hu&opsis *olo!rata, (alse Hiba -eda$. "he -yp$ess, o$ hinoki, is
8hamae1yparis o!tusa( "oshihiko and "oyo *Cu$su initially b$ou&ht to 'y attention
this hai!un and the t,o (ollo,in& poe's+ see *Cutsu and *Cutsu 19J3. "hey a$&ue,
ho,e1e$, that these poe's and the hai!un su&&est sta&nan-y, -ontent'ent, and
-o'pla-en-y in Bash. * su&&est the opposite: pe$petually in-o'plete t$ans(o$'ation.
*( Bash ,e$e -o'pla-ent he ,ould not keep sayin& to'o$$o,, to'o$$o, in the
hai!un(
11. Bash9s the'e o( i'pe$'anen-e and his de1otion to haikai no renga also su&&est the
idea o( -han&e that ne1e$ -li'a0es o$ -ul'inates. /a$y ;be$sole notes, 4hen one
$ealiCes that mu&/ is the natu$al state o( thin&s, a ne, ,o$ld opens up. "hat is to say,
,hen pushed to its lo&i-al -on-lusion one (inds no p$i'o$dial Tbein&U but shizen,
natu$e o$ natu$al mu&/ o$ -ontinuous be-o'in& D;be$sole 1981:5!1E. *t is also
$ele1ant that the sou$-e o( Bash9s no' de plu'e, the !ash/ DplantainE t$ee, does not
(lo,e$ in -ent$al 3apan.
12. "he ,o$d in both Bash9s passa&e and 4u'en9s is *oppo, ,hi-h 'eans both ,alk
alone Dthe lite$al 'eanin& o( the -ha$a-te$sE and to be unsu$passed, the &$eatest.
13. .ilbe$ D1985:esp. 253E notes that 'onasti-is' has an a'bi&uous $elationship to the
notion o( antist$u-tu$e. 6lthou&h it tends to in1ol1e ,ithd$a,al and so'e e&alita$ian
aspe-ts, it also tends to p$odu-e a hi&hly institutionaliCed st$u-tu$e. 6s a $esult,
'onasti-is' is best seen not as antist$u-tu$e but as alte$nati1e st$u-tu$e. *n the
episodes ,ith the .hinto sh$inekeepe$ and the -$o,like Buddhist 'onk, Bash see's
to be e0posin& and ?uietly -onde'nin& the p$esu'ptions and distin-tions o( 'onasti-
st$u-tu$e.
,ist of .eferen1es
6be, @asao. 1985. "he >neness o( #$a-ti-e and 6ttain'ent: *'pli-ations (o$ the Relation
Bet,een @eans and ;nds. *n D#gen $tu*ies, ed. 4illia' R. 5aBleu$. Honolulu: <ni1e$sity
o( Ha,aii #$ess.
Ba$nhill, :a1id 5. 198!. *'pe$'anen-e, Bate, and the 3ou$ney: Bash and the #$oble' o(
@eanin&. .eligion 1!, no. K:323K1.
HHH. 1988. 7o$ina&a9s Nie, o( A7are and @o$al 8$iti-is' o( the 'ale of %en&i( Annals
of the $outheastern 8onferen1e of the Ameri1an A1a*emy of .eligion, J2J8.
Bloo', 6l($ed. 19!5. $hinran;s %ospel of 5ure %ra1e( "u-son: <ni1e$sity o( 6$iCona #$ess.
Bynu', 8a$oline 4alke$. 198K. 4o'en9s .to$ies, 4o'en9s .y'bols: 6 8$iti?ue o( Ni-to$
"u$ne$9s "heo$y o( 5i'inality. *n Anthropology an* the $tu*y of .eligion, ed. Robe$t 5.
@oo$e and B$ank ;. Reynolds. 8hi-a&o: 8ente$ (o$ the .-ienti(i- .tudy o( Reli&ion.
:a1is, 4inston. 19838K. #il&$i'a&e and 4o$ld Rene,al: 6 .tudy o( Reli&ion and .o-ial
Nalues in "oku&a,a 3apan. History of .eligions 23, no. 2:9J11! and no. 3:19J221.
;be$sole, /a$y. 1981. @atsuo Bash and the 4ay o( #oet$y. #h.:., diss., <ni1e$sity o(
8hi-a&o.
Boa$d, 3a'es. 19J!. "he 5oneliness o( @atsuo Bash. *n 'he Biographi1al 5ro1ess:
$tu*ies in the History an* 5sy1hology of .eligion, ed. B$ank ;. Reynolds and :onald 8apps.
"he Ha&ue: @outon and 8o'pany.
HHH. 1982. "he Bounda$ies o( 8o'passion: Buddhis' and 7ational "$adition in
3apanese #il&$i'a&e. 2ournal of Asian $tu*ies K1, no. 2:23151.
Ho$i 7obuo. 19J%. ;ien no tabibito X"$a1ele$ o( ete$nityY. *n Hy/!aku no tamashii, ed.
*'oto 7i-hi. "okyo: Aadoka,a .hoten.
*'oto 7i-hi. 19J%. Hy/!aku no tamashii X"he spi$it o( ,ande$in&Y. "okyo: Aadoka,a
.hoten.
*Cutsu, "oshihiko, and "oyo *Cutsu. 19J3. Ba$ ;aste$n ;0istentialis': Haiku and the @an o(
4abi. *n 'he 5ersonality of the 8riti1, ed. 3oseph #. .t$elka. <ni1e$sity #a$k: #ennsyl1ania
.tate <ni1e$sity #$ess.
Aaplan, .te1en. 1985. "he ;thiopian Holy @an as >utside$ and 6n&el. .eligion 15, no.
2:235K9.
Aeene, :onald. 1959. Bash9s 3ou$ney o( 1!8K. Asia "a&or J:131KK.
HHH. 19J1. ,an*s1apes an* 5ortraits( "okyo: Aodansha.
Ain&, 4inston. 198!. Death )as His oan: 'he $amurai+3en of $uzuki $h/san( Be$keley:
6sian Hu'anities #$ess.
5a(leu$, 4illia' R. 19J3. .ai&y and the Buddhist Nalue o( 7atu$e. History of .eligion 13,
no. 2:9312J and no. 3:22JKJ.
HHH. 19JJ. "irror for the "oon: A $ele1tion of 5oems !y $aigy/ B111F+11HIC( 7e, Go$k:
7e, :i$e-tions.
HHH. 19J9. #oints o( :epa$tu$e: 8o''ents on Reli&ious #il&$i'a&e in .$i 5anka and
3apan. 2ournal of Asian $tu*ies 38, no. 2:2J181.
HHH. 1983. 'he arma of )or*s: Bu**hism an* the ,iterary Arts in "e*ie-al 2apan(
Be$keley and 5os 6n&eles: <ni1e$sity o( 8ali(o$nia #$ess.
@-8ullou&h, Helen. 1985. okin7akash0: 'he First Imperial Anthology of 2apanese 5oetry(
.tan(o$d: .tan(o$d <ni1e$sity #$ess.
@atiso((, .usan. 19J9. *'a&es o( ;0ile and #il&$i'a&e: Iea'i9s Aintosho. "onumenta
Nipponi1a 3K, no. K:KK9!5.
@eCaki "okue, 19J5a. 6estheti- Re-luses :u$in& the "$ansition ($o' 6n-ient to @edie1al
3apan. *n 5rin1iples of 8lassi1al 2apanese ,iterature, ed. ;a$l @ine$. #$in-eton, 7.3.:
#$in-eton <ni1e$sity #$ess.
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thou&htY. "okyo: Aadoka,a .hoten.
NB' K5. .ee >tani "okuC and 7aka'u$a .hun2.
NB' K!. .ee .u&i,a$a .hoi-hi$.
>tani "okuCL and 7aka'u$a .hun2. 1959. Bash/ kush0 XBash9s poet$yY. Nihon koten
!ungaku taikei K5. "okyo: *,ana'i .hoten. 6bb$e1iated as NB' K5.
#luts-ho,, He$be$t, and Hidei-hi Bukuda. 1981. Four 2apanese 'ra-el Diaries of the "i**le
Ages( *tha-a: 8o$nell <ni1e$sity, 8hina3apan #$o&$a'.
Reps, #aul. 7.d. 3en Flesh, 3en Bones@ A 8olle1tion of 3en an* 5re+3en )ritings( /a$den
8ity, 7.G.: 6n-ho$ Books.
.ilbe$, *lana B$ied$i-h. T>ptin& >utU in "he$a1ada Buddhis' and @edie1al 8h$istianity: 6
8o'pa$ati1e .tudy o( @onasti-is' as 6lte$nati1e .t$u-tu$e. .eligion 15, no. 2:251JJ.
.u&i,a$a .hoi-hi$ et al. 1959. Bash/ !unsh0 XBash9s p$oseY. 7ihon koten bun&aku taikei
K!. "okyo: *,ana'i .hoten. 6bb$e1iated as NB' K!.
"u$ne$, Ni-to$. 19!9. 'he .itual 5ro1ess: $tru1ture an* Anti+stru1ture( *tha-a: 8o$nell
<ni1e$sity #$ess.
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8o$nell <ni1e$sity #$ess.
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7e, :elhi: 8on-ept #ublishin& 8o'pany.
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"yle$, Royall. 19JJ. $ele1te* )ritings of $uzuki $h/san( *tha-a: 8o$nell <ni1e$sity, 8hina
3apan #$o&$a'.
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7aka'u$a Gukihiko. "okyo: Aadoka,a .hoten.
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Balti'o$e: #en&uin Books.
@akoto <eda
*nt$odu-tion to Bash/ an* his Interpreters: $ele1te*
Hokku 7ith 8ommentary,
.tan(o$d <ni1e$sity #$ess, 1991, pp. 111.
RENGA, HAIKAI, AND HOKKU
6s is ,ell kno,n, the 3apanese 1e$se (o$' -alled hokku o$ haiku -onsists o( th$ee ph$ases
Do(ten $e(e$$ed to as lines in ;n&lishE o( (i1e, se1en, and (i1e syllables. Histo$i-ally it
e1ol1ed out o( renga, a 'a2o$ (o$' o( 3apanese poet$y that (lou$ished espe-ially in the
(ou$teenth and (i(teenth -entu$ies. Ren&a, lite$ally 'eanin& linked poet$y, ,as usually
,$itten by a tea' o( poets unde$ a set o( p$es-$ibed $ules. Bi$st the tea' leade$, no$'ally the
hono$ed &uest at the &athe$in&, ,ould ,$ite a hokku Dopenin& 1e$seE in the 5J5 syllable
patte$n and in-ludin& a ,o$d i'plyin& the season o( the yea$. 7e0t the host poet ,ould ,$ite
a 7akiku Da--o'panyin& 1e$seE, usin& the JJ syllable (o$' and e0tendin& o$ 'odi(yin& the
'eanin& o( the p$e-edin& 1e$se in so'e inte$estin& ,ay. "his ,ould be (ollo,ed by the thi$d
poet9s th$eeph$ase, se1enteensyllable 1e$se, then by the (ou$th poet9s t,oph$ase, (ou$teen
syllable 1e$se, and so (o$th, the t,o di((e$ent syllabi- (o$'s al,ays alte$natin& ,ith ea-h
othe$, until the poeti- se?uen-e $ea-hed its thi$tysi0th, (o$ty(ou$th, (i(tieth, o$, as ,as 'ost
-o''only the -ase, one hund$edth 1e$se. >n -e$tain spe-ial o--asions, poets ,ent on to
-o'pose a $en&a se?uen-e o( one thousand o$ e1en ten thousand 1e$ses.
*n the si0teenth -entu$y, as 'o$e 3apanese be-a'e lite$ate and be&an pa$ti-ipatin& in poeti-
a-ti1ities, a 1a$iety o( $en&a -alled haikai e'e$&ed and &$adually &ained popula$ity a'on& all
-lasses o( people. Haikai, lite$ally 'eanin& play(ul style, ,as a li&hthea$ted type o( linked
poet$y that allo,ed 'o$e ($eedo' o( i'a&e$y and di-tion and a 'o$e $ela0ed aestheti- in
&ene$al. "he ea$ly haikai poets in pa$ti-ula$ ai'ed at eli-itin& lau&hte$ th$ou&h the use o(
puns, ,itti-is's, pa$ody, slan& te$'s, o$ 1ul&a$ sub2e-t 'atte$. "hey p$odu-ed no &$eat
lite$atu$e, but they did help to de'o-$atiCe poet$y. "hey also p$epa$ed the &$ound (o$ the
e'e$&en-e o( a 'a2o$ poet ,ho, ,ith his &$eat inno1ati1e talent, ,ould ele1ate haikai to a
'atu$e a$t (o$'. .u-h a poet did indeed appea$ in the se1enteenth -entu$y, na'ely @atsuo
Bash D1!KK9KE.
4hile haikai ,as still establishin& itsel(, hokku ,as steadily be-o'in& 'o$e independent o(
the $est o( the poeti- se?uen-e. "he (i$st $en&a antholo&y, -o'piled in the (ou$teenth -entu$y,
had al$eady sepa$ated hokku ($o' othe$ 1e$ses and -olle-ted the' in a spe-ial se-tion, but
ea$ly $en&a poets al,ays ,$ote the' as openin& 1e$ses, e0pe-tin& ,akiku to (ollo,. 6s
'o$e $en&a antholo&ies appea$ed, and as poets had 'o$e oppo$tunities to see hokku sin&led
out in the', that e0pe-tation &$adually lessened. .o'e hokku ,$itten in the late (i(teenth
-entu$y $ead al'ost like sel(-ontained ly$i-s, e0p$essin& pe$sonal e'otions the poets (elt on
spe-i(i- o--asions.
"he popula$ity o( haikai a'on& the 'asses in the si0teenth -entu$y (u$the$ a--ele$ated the
t$end. @any a'ateu$ poets (ound it easie$ and 'o$e en2oyable to ,$ite hokku than any othe$
1e$se in a haikai se?uen-e. Hokku, bein& the openin& 1e$se, -ould be ,$itten ,ithout payin&
attention to the bothe$so'e $ules o( linka&e. "he &a'e o( 'at-hin& indi1idual hokku in a
-ontest, ,hi-h be-a'e ,idesp$ead in the se1enteenth -entu$y, also helped hokku to be 1ie,ed
as autono'ous poe's. 6lthou&h Bash on-e inti'ated that he had 'o$e -on(iden-e in
-o'posin& haikai than hokku, the (a-t $e'ains that he -o'piled a hokku -ontest book in his
youth and ,ent on to ,$ite a nu'be$ o( hokku ,ith no ,akiku to (ollo,. Gosa Buson D1J18
83E and Aobayashi *ssa D1J!3182JE, t,o 'a2o$ poets in the postBash e$a, pou$ed thei$
-$eati1e ene$&y 'o$e into hokku than into haikai. *t -an be said that in the ei&hteenth and
nineteenth -entu$ies the ,$itin& o( independent hokku ,as 2ust as popula$ as, and o(ten 'o$e
popula$ than, the -o'position o( haikai.
*t ,as natu$al, then, that in the late nineteenth -entu$y the poet @asaoka .hiki D18!J19%2E
should -o'e to ad1o-ate distin&uishin& bet,een the hokku as the openin& 1e$se o( a haikai
se?uen-e and the hokku as an independent, sel(-ontained poe'. "o 'ake the distin-tion
-lea$, .hiki &a1e the na'e haiku to the latte$ type o( hokku. "he ne, na'e be-a'e p$e1alent
in subse?uent yea$s, and all autono'ous poe's ,$itten in se1enteen syllables today a$e -alled
haiku. "his has -$eated a p$oble', ho,e1e$. 4hat should ,e -all a 5J5 syllable 1e$se that
Bash ,$ote to sta$t a haikai se?uen-e, but that ,e no, $ead and app$e-iate as an independent
poe'= <ntil about ten yea$s a&o, it ,as 'o$e -o''on to -all it a haiku. *n today9s 3apan, the
situation see's to be the $e1e$se. *n this book, the$e(o$e, * ha1e used the te$' hokku to
desi&nate all se1enteensyllable 1e$ses ,$itten be(o$e the end o( the ;do pe$iod D1!%%18!8E,
$e&a$dless o( ,hethe$ they a-tually opened haikai se?uen-es. "he ,o$d haiku, as e'ployed
in this book, denotes an independent 5J5 syllable poe' ,$itten in the 'ode$n pe$iod.
*t 'ust be $e'e'be$ed, ho,e1e$, that Bash hi'sel( did not distin&uish bet,een the t,o
types o( hokku as -lea$ly as .hiki did. *n Bash9s 'ind, a hokku ,as at on1e an autono'ous
poe' and a 1e$se that -ould be&in a haikai se?uen-e. 6s a 'atte$ o( (a-t, the$e a$e instan-es
,he$e he ,$ote a hokku spontaneously in $esponse to a spe-i(i- s-ene o$ in-ident and then, at
a late$ date, used it as the openin& 1e$se o( a haikai se?uen-e. 8on1eniently, the 3apanese
lan&ua&e has the allin-lusi1e ,o$d ku, ,hi-h desi&nates a haiku, a hokku Din both o( its
sensesE, o$ any haikai 1e$se. 8o''entato$s on Bash9s ,o$k 'ake ($e?uent use o( the ,o$d,
the$eby keepin& the se'anti- a'bi&uity inta-t. 7eedless to say, the te$' has no ;n&lish
e?ui1alent, (o$ the ,o$d poe' i'plies a sel(-ontained pie-e o( -o'position, ,hile the te$'
1e$se usually $e(e$s to a stanCa o$ se-tion o( a poe'. *n this book, then, * ha1e t$anslated ku
as poe' ,hen the -o''entato$ is -lea$ly t$eatin& the hokku as an independent entity and
usin& the te$' in that sense. *n all othe$ -ases, * ha1e e'ployed the ,o$d 1e$se. 6 1e$se
in 'y usa&e, the$e(o$e, -o1e$s a ,ide$ a$ea o( 'eanin& than it no$'ally does in ;n&lish, (o$ at
ti'es it has to si&ni(y so'ethin& hal(,ay bet,een a poe' and a stanCa. "he notion 'ay see'
a little nebulous to those ,ho a$e used to 'akin& a -lea$ distin-tion bet,een a pa$t and a
,hole, but it is inte&$al to the basi- natu$e o( hokku.
THE SIGNIFICANCE OF BASH
"he histo$i-al si&ni(i-an-e o( Bash is ob1ious. He de'onst$ated, to an e0tent ne1e$ kno,n
be(o$e, the poeti- potential o( the se1enteensyllable (o$'. #$io$ to his ti'e, haikai had been
'o$e an u$bane &a'e o$ pasti'e than se$ious poet$y, and hokku ,as pa$t o( it. 4ith his keen
lite$a$y sensiti1ity and supe$b -o''and o( the lan&ua&e, Bash e0plo$ed all the potential that
had been do$'ant in the 1e$se (o$'. He ,as a da$in& e0plo$e$: he used slan& te$'s, he
bo$$o,ed ($o' -lassi-al 8hinese, he ,$ote hokku in ei&hteen, nineteen, o$ 'o$e syllables.
;1en 'o$e i'po$tant, he endea1o$ed to 'ake hokku t$ue to a-tual hu'an e0pe$ien-e, to ,hat
he sa,, thou&ht, and (elt, ,ith all sin-e$ity and honesty. He ne1e$ -o'pletely $e2e-ted the
play(ulness -ha$a-te$isti- o( haikai, but he de'onst$ated that hokku ,as -apable o(
e'bodyin&, in its b$ie( (o$', all the 1a$ious senti'ents and 'oods o( hu'an li(e. *n b$ie(, he
-$eated se$ious poet$y out o( ,hat had la$&ely been an ente$tainin& &a'e.
Bash9s si&ni(i-an-e as a poet, ho,e1e$, is 'o$e than histo$i-al, (o$ ,hat he pou$ed into his
poet$y has uni1e$sal and lastin& appeal. Reade$s ha1e t$ied to e0plain that appeal in di((e$ent
,ays, but they tend to a&$ee that Bash9s poet$y, seen in its totality, $e1eals his li(elon& e((o$t
to (ind a 'eanin& in li(e. Bo$n in a (a'ily 2ust belo, the $ulin& -lass and (ailin& ea$ly in his
atte'pt to -li'b up to that -lass, he ,ent th$ou&h a pe$iod o( youth $idden by sel(doubts,
an0iety, and e1en despai$. Get, li1in& in a post'edie1al a&e, he had too 'u-h -on(iden-e in
hu'an potential to tu$n to a sel(abne&atin& $eli&ion. *n his e0tensi1e sea$-h (o$ a 1iable
s-he'e o( sal1ation, he p$obed deep into "aosi' and Ien Buddhis'. ;1entually he (ound, o$
thou&ht he (ound, ,hat he sou&ht in ,hat he -alled f0ga, an a$tist9s ,ay o( li(e, a $e-lusi1e li(e
de1oted to a ?uest (o$ ete$nal t$uth in natu$e. "he sin-e$ity ,ith ,hi-h he pu$sued f0ga is
deeply 'o1in&. 7onetheless, it is inte$estin& to note that he had lin&e$in& 'is&i1in&s about its
$ede'pti1e po,e$. "o his last days, he did not see' able to 'e$&e poet$y ,ith belie(
-o'pletely.
"he in(lo, o( ;u$opean lite$atu$e into 3apan sin-e the late nineteenth -entu$y has not
di'inished the appeal o( Bash9s poet$y. Rathe$, it has helped the 3apanese to $eapp$aise his
,$itin&s ($o' ne, pe$spe-ti1es. Ro'anti-s in ea$ly 'ode$n 3apan, ,ho t$ied to ,$ite in the
'anne$ o( 4o$ds,o$th and By$on, -on-ei1ed Bash as a kind o( 8hilde Ha$old, a solita$y
,ande$e$ ,ho ,ould t$a1el to 'any distant to,ns and e1oke people and e1ents o( the past
,he$e1e$ he ,ent. .y'bolist poets (ollo,in& the (ootsteps o( Baudelai$e and @alla$'W
thou&ht o( Bash as thei$ 3apanese p$ede-esso$, a poet ,ho p$obed into the 'yste$ies o(
natu$e and &a1e the' lite$a$y e0p$ession th$ou&h subtle, e1o-ati1e i'a&es. 6utobio&$aphi-al
,$ite$s, ,ho thou&ht they ,e$e e'ulatin& ;u$opean natu$alist lite$atu$e, 1alued Bash9s
ti$eless e((o$ts to be honest ,ith hi'sel(, to i'p$o1e hi'sel( as both 'an and poet, and to
$e-o$d his spi$itual ?uest ,ith the ut'ost -ando$.
4ith the in-$easin& inte$est in hokku and haiku outside 3apan, the appeal o( Bash9s poet$y is
no, inte$national. ;a$ly in this -entu$y, 6n&lo6'e$i-an poets asso-iated ,ith the i'a&ist
'o1e'ent ,e$e att$a-ted to the poeti- lan&ua&e o( Bash and his (ollo,e$s (o$ its ob2e-ti1ity
and p$e-ision as ,ell as (o$ its ability to p$esent ,hat ;C$a #ound -alled an intelle-tual and
e'otional -o'ple0 in a ($a-tion o( ti'e. .u-h lan&ua&e also -au&ht the eye o( .e$&ei @.
;isenstein, be-ause it see'ed to utiliCe the sa'e te-hni?ue o( 'onta&e ,ith ,hi-h he ,as
e0pe$i'entin& in his (il' ,o$k. He -alled hokku 'onta&e ph$ases, and the (i$st e0a'ple he
-ited ,as Bash9s (a'ous poe' on the -$o,. @any poets o( the Beat /ene$ation ,e$e d$a,n
to Bash9s poet$y, p$i'a$ily be-ause they thou&ht hokku ,e$e lite$a$y e0p$essions o( Ien.
"hat 1ie, is still held by so'e 4este$n ad'i$e$s o( Bash today, but, in &ene$al, i'a&es o(
Bash in the 4est ha1e &$o,n 'u-h 'o$e di1e$se. Re-ent $eade$s ha1e dete-ted in hi'
so'ethin& o( an e0istential philosophe$, a psy-holo&i-al $ealist, an alienated intelle-tual, and
a $eli&ious 'ysti-. "he$e is no doubt that 'any 'o$e po$t$aits o( Bash ,ill be d$a,n by his
$eade$s in and outside 3apan in the yea$s to -o'e.
<lti'ately, the &$eatest -ha$' o( Bash9s poet$y $esides in the s-ope and depth ,ith ,hi-h it
$ep$esents hu'an e0pe$ien-e. He -ontains 'ultitudes, so that his $eade$s -an see in hi'
,hate1e$ they ,ant to see. 6nd yet they o(ten (eel they ha1e not seen the ,hole o( ,hat they
,anted to see, sin-e a Bash poe' $e(uses to si'pli(y the e0pe$ien-e it $ep$esents. Be-ause o(
its b$e1ity, a hokku tends to be a'bi&uous, but e1en 'o$e so ,hen the autho$ is Bash, (o$ he
t$ied to p$esent li(e ,ith all its -o'ple0ities, pointin& his (in&e$ at its 'yste$y and depth but
a1oidin& the atte'pt to (o$-e an analyti-al intelle-t on it. 4hile that 'ay o$ 'ay not be a si&n
o( &$eatness, it has p$o1ed to be a steady sou$-e o( att$a-tion to $eade$s (o$ the last th$ee
hund$ed yea$s.
CRITICAL COMMENTARY ON BASH'S HOKKU
7ot su$p$isin&ly, a &$eat 'any $eade$s ha1e been 'o1ed to $e-o$d thei$ (eelin&s about Bash9s
hokku. "he a'ount o( su-h -$iti-al -o''enta$y a--u'ulated o1e$ the yea$s is 'o$e 'assi1e
than that (ound (o$ any othe$ 3apanese poet. *t 'ust be noted, ho,e1e$, that a lon& histo$y o(
inte$p$eti1e -$iti-is' had e0isted p$io$ to Bash9s ti'e. "an;y/sh0 D"he -olle-tion o( ten
thousand lea1es, 8th -.E, the ea$liest su$1i1in& antholo&y o( 3apanese poet$y, al$eady in-ludes
e0planato$y notes (ollo,in& so'e o( the poe's. ;a$ly books on the a$t o( poet$y also -ontain
autho$9s -o''ents on the ,o$din& and style o( the poe's -ited. >ne su-h e0a'ple is the
-o''enta$y a--o'panyin& the poe's ?uoted in the (a'ous p$e(a-e to okinsh0 D"he
-olle-tion o( an-ient and 'ode$n poe's, 9%5E, althou&h neithe$ its autho$ship no$ its date o(
-o'position is kno,n. 8o''enta$y be-a'e 'o$e pointed and e1aluati1e ,hen poet$y
-ontests &ained popula$ity du$in& the Heian pe$iod DJ9K1185E. *n su-h -ontests a 7aka, a
thi$tyone syllable poe' that by then had be-o'e the do'inant 1e$se (o$', ,as 'at-hed ,ith
anothe$ ,aka on the sa'e topi-, ,he$eupon a $e(e$ee de-ided ,hi-h poe' ,as the ,inne$.
7atu$ally, the $e(e$ee had to e0plain the $easons (o$ his de-ision, and he o(ten did so in
,$itin& Do$ else his o$al e0planations ,e$e $e-o$ded by so'eone elseE.
By the late Heian pe$iod, ea$lie$ antholo&ies su-h as "an;y/sh0 and okinsh0 had -o'e to be
$e&a$ded as lite$a$y -lassi-s ,o$thy o( s-hola$ly attention. 6t the sa'e ti'e, a nu'be$ o(
e0p$essions appea$in& in those antholo&ies had be-o'e obsolete and in-o'p$ehensible. "hus
s-hola$s in the ele1enth -entu$y, 'any o( ,ho' ,$ote poet$y the'sel1es, be&an to annotate
a$-hai- ,o$ds and ph$ases (o$ the bene(it o( less lea$ned $eade$s. "hey also studied ea$lie$
-usto's and 'anne$s in o$de$ to $e1eal the poe's9 so-ial ba-k&$ound. "hey ,e$e espe-ially
ea&e$ to seek out any spe-i(i- ,o$k o( 8hinese o$ 3apanese lite$atu$e to ,hi-h a &i1en poe'
alluded, (o$ that allo,ed the' to display thei$ e$udition to the (ullest e0tent. "he p$a-ti-e o(
,$itin& s-hola$ly -o''enta$y ,as ,ell established in the t,el(th -entu$y, openin& a path (o$
'any e0-ellent books o( ,aka annotations to appea$ in late$ -entu$ies.
4hen $en&a $epla-ed ,aka as the 'ost 1iable poeti- (o$' in the (ou$teenth -entu$y, -$iti-al
$e'a$ks on linked 1e$ses be&an to appea$ in books on the a$t o( $en&a as ,ell as in $e-o$ds o(
$en&a -ontests. "he -o''entato$s9 (o-us o( attention initially tended to be on the 'anne$ in
,hi-h t,o se?uential 1e$ses ,e$e linked to ea-h othe$, be-ause that ,as ,he$e the -ent$al
inte$est o( $en&a poets lay. But, ,ith the in-$easin& independen-e o( hokku, -$iti-s &$adually
be&an to pay 'o$e attention to the openin& 1e$seHespe-ially a(te$ haikai be-a'e the
'ainst$ea' o( $en&a. 8o''ents and dis-ussions on hokku p$oli(e$ated e1en (u$the$ ,hen
hokku -ontests -a'e to be held ($e?uently in the se1enteenth -entu$y.
*ndeed, the ea$liest -o''ents on Bash9s hokku that su$1i1e today a$e (ound in a hokku
-ontest book -o'piled by Bash hi'sel(. ;ntitled ai 9i D'he seashell game, 1!J2E, the book
in-ludes t,o sa'ples o( youn& Bash9s ,o$k in the 5J5 (o$', ea-h (ollo,ed by a -$iti-al
-o''ent he 'ade as the -ontest $e(e$ee. *n his 'atu$e yea$s, ho,e1e$, Bash seldo' ,$ote
about his o,n poet$y in a (o$'al 'anne$. He did 'ake so'e -asual $e'a$ks about it in the
lette$s he sent to his ($iends and dis-iples. 6lso, he see's to ha1e dis-ussed his 1e$ses in
-on1e$sations ,ith his students, and a &ood nu'be$ o( the -o''ents he 'ade ha1e been
$e-o$ded in the students9 ,$itin&s. >( those, the ones by @ukai Ayo$ai D1!511J%KE and
Hatto$i :oh D1!5J1J3%E a$e the 'ost $eliable. Bash9s $e'a$ks -ited in othe$ dis-iples9
books should be $ead ,ith -aution, be-ause they 'ay ha1e been disto$ted by the autho$ (o$
one $eason o$ anothe$. "hese -o''ents by Bash and his students a$e 1aluable, as they o(ten
$e1eal so'ethin& about the p$o-ess by ,hi-h a poe' ,as -$eated. Ano,in& the -i$-u'stan-es
o( -o'position is help(ul, espe-ially ,hen the poe' is only se1enteen syllables lon&.
6 la$&e a'ount o( -$iti-al -o''enta$y on Bash9s hokku appea$ed in the ne0t t,o -entu$ies.
@ostly ,$itten by haikai poets, it sho,s t,o 'ain -ha$a-te$isti-s. Bi$st, it $e(le-ts a 'a2o$
e((o$t by the -o''entato$s to seek out -lassi-al sou$-es and allusions. >b1iously they ,e$e
a,a$e o( the ea$lie$ inte$p$eti1e t$adition that had been established by s-hola$s on ,aka and
$en&a+ they also kne, that Bash ,as ,ell $ead in 8hinese and 3apanese -lassi-s. "hus su-h
-o''entato$s as *shiko .ekisui D1J3818%3E, .hoshian .an9u D18th -.E, and @o$o 7ani'a$u
D1J!1183JE sea$-hed (a$ and ,ide to dis-o1e$ poe's, passa&es, and ph$ases to ,hi-h a &i1en
hokku by Bash 'i&ht ha1e alluded. 6lthou&h they so'eti'es ,ent too (a$ in this di$e-tion,
thei$ ,o$k is 1aluable in 'akin& us a,a$e o( hidden $e(e$en-es and -onnotations in a hokku
and en$i-hin& ou$ app$e-iation o( it. .e-ond, those p$e'ode$n -o''entato$s ,e$e p$one to
o1e$p$aise Bash9s poet$y, -ons-iously o$ sub-ons-iously shuttin& thei$ eyes to its (la,s. "o
the', Bash ,as a poetsa&e ,hose ,o$k ,as beyond $ep$oa-h. *ndeed, pa$tly be-ause o(
thei$ e((o$t, the .hinto hie$a$-hy dei(ied hi' in 1J93, and the i'pe$ial -ou$t &$anted a si'ila$
hono$ thi$teen yea$s late$. "o say so'ethin& de$o&ato$y about his ,o$k be-a'e ?uite lite$ally
sa-$ile&ious.
"he situation -han&ed $adi-ally to,a$d the end o( the nineteenth -entu$y, ,hen 4este$n
lite$atu$e (lo,ed ($eely into 3apan and daCCled the 3apanese. *n the ne, a&e, Bash ,as no
lon&e$ a di1ine poet but 'e$ely a 'a2o$ ,o$ld poet, one ,ho sho,ed ,eakness as ,ell as
st$en&th in his ,o$k. "hus, su-h -$iti-s as @asaoka .hiki and 7ait @eisetsu D18KJ192!E
be&an to publish -andid, so'eti'es ad1e$se $e'a$ks on Bash9s poet$y+ .hiki espe-ially -a'e
to be ,ell kno,n (o$ his atta-ks on Bash. *t should be $e'e'be$ed, ho,e1e$, that the atta-ks
,e$e based on .hiki9s 4este$ninspi$ed notion o( poet$y and had the e((e-t o( sho,in& that
Bash9s ,o$k ,as uni1e$sal enou&h to be dis-ussed in the -onte0t o( ,o$ld lite$atu$e.
"his $e-o&nition o( Bash9s uni1e$sality also led to his libe$ation ($o' the s'all ,o$ld o(
haikai and hokku, in1itin& a ,ide 1a$iety o( $eade$s to study his poet$y and 'ake -o''ents
on it. >ne notable $esult o( this ,as the (o$'ation o( a dis-ussion &$oup by leadin& 3apanese
intelle-tuals, su-h as 6be 3i$ D18831959E, 6be Goshishi&e D188319!!E, and 4atsu2i
"etsu$ D188919!%E, ,ho took up Bash9s hokku one by one and s-$utiniCed the' at $e&ula$
'eetin&s held o1e$ a pe$iod o( (ou$ and a hal( yea$s. 7o1elists like 6kuta&a,a RyQnosuke
D1892192JE and @u$ .aisei D188919!2E and ($ee1e$se poets like Ha&i,a$a .akuta$
D188!19K2E and 7o&u-hi Gone2i$ D18J519KJ, kno,n as Gone 7o&u-hi outside 3apanE also
published essays sho,in& thei$ intuiti1e unde$standin& o( Bash9s hokku. ;1en those ,ho
,e$e kno,n p$i'a$ily as haiku poets, su-h as >&i,a$a .eisensui D188K19J!E and Aat
.hQson Db. 19%5E, ,$ote -o''ents on Bash9s hokku ($o' a b$oad, hu'anisti- 1ie,point not
$est$i-ted by the past haikai t$adition.
*n the 'eanti'e, the int$odu-tion o( 4este$n lite$a$y studies helped Bash s-hola$s to 'ake
$apid p$o&$ess in te0tual and bio&$aphi-al -$iti-is'. Ne$ses that had been 'istakenly
att$ibuted to Bash ,e$e -a$e(ully ,eeded out. >( the 1a$iant 1e$sions, the one that see'ed to
be Bash9s (inal d$a(t ,as sele-ted th$ou&h a $i&o$ous p$o-ess o( s-hola$ly authenti-ation.
.-hola$s also ai'ed at 'a0i'u' ob2e-ti1ity in dete$'inin& dates and pla-es o( -o'position
by s-$utiniCin& the histo$i-al and bio&$aphi-al e1iden-e that had su$1i1ed. "hei$ -$iti-al
-o''ents on Bash9s hokku help us to see the poe's in te$'s o( the situation in ,hi-h they
,e$e ,$itten. 6 &$eat 'any s-hola$s 'ade -ont$ibutions in this a$ea, 'ost notable a'on&
the' bein& .hida /ishQ D18J!19KJE and ;ba$a "aiC D189K19K8E.
3apanese studies on Bash9s hokku $ea-hed a peak ,ith the ,o$k o( Ga'a'oto Aenki-hi
D19%J88E, ,ho ,as neithe$ a poet no$ a no1elist no$ a $esident o( a-ade'ia. His b$illiant book
Bash/: sono kansh/ to hihy/ DBash: 6pp$e-iation and -$iti-is' o( his ,o$kE, ,hi-h ,as
published in th$ee 1olu'es in 19555!, sele-ted 1KJ $ep$esentati1e hokku and atte'pted a
detailed e0pli-ation o( ea-h. 4ell 1e$sed in ,o$ld lite$atu$e, Ga'a'oto de$i1ed his basi-
'ethodolo&y ($o' the ,o$ks o( the 7e, 8$iti-s in the 4est, basin& his -o''ents on
s-$upulous te0tual analysis. He did not $e2e-t histo$i-al and othe$ 'ethodolo&ies+ $athe$, he
in-o$po$ated the' into his app$oa-h. <lti'ately, ho,e1e$, the st$en&th o( his -o''enta$y lies
in his in-isi1e intelle-t, keen lite$a$y sensibility, and $i-h kno,led&e o( both ;aste$n and
4este$n lite$atu$e, all o( ,hi-h he applied to un$a1elin& the -o'ple0 'ind o( Bash.
*nsi&ht(ul -o''enta$y on Bash9s hokku, 'ade by su-h s-hola$s as *'oto 7i-hi Db. 1913E
and >&ata "suto'u Db. 192%E, -ontinued to appea$ a(te$ Ga'a'oto9s 'onu'ental ,o$k.
Ga'a'oto hi'sel( published a ne, book on Bash9s hokku in 19JK, this ti'e -hoosin& a (a$
&$eate$ nu'be$ o( poe's (o$ study but -onside$ably sho$tenin& his -o''ent on ea-h. *n
&ene$al, ho,e1e$, Bash9s hokku do not see' to ha1e att$a-ted as 'u-h -$iti-al attention in
the last se1e$al de-ades. .o'e s-hola$s e1en asse$t that the peak pe$iod o( Bash -$iti-is' has
passed, as (a$ as his hokku a$e -on-e$ned. 8u$$ent s-hola$ship pays 'o$e attention to his
,o$ks in othe$ &en$es, ,hi-h, ,ith the e0-eption o( t$a1el 2ou$nals, had not $e-ei1ed due
attention be(o$e. 6lso, the hu&e a--u'ulated 'ass o( past -o''enta$y on Bash9s hokku is
enou&h to inti'idate any s-hola$. #$obably those ,ho ha1e the &$eatest potential to -ont$ibute
at p$esent a$e non3apanese $eade$s o( Bash9s hokku, ,ho ha1e been $ea$ed in a $adi-ally
di((e$ent -ultu$al t$adition. *n o$de$ (o$ thei$ -o''ents to be 1aluable, ho,e1e$, they need to
be tho$ou&hly (a'ilia$ ,ith the 3apanese lan&ua&e and -ultu$e, and they should be -apable
both o( synthesiCin& the past 3apanese -o''enta$y and o( addin& to that synthesis thei$ o,n
insi&hts. "he task ,ould not be easy, but * belie1e it -an be done.
TRANSLATIONS INTO ENGLISH
Bash9s hokku, to&ethe$ ,ith those o( othe$ 3apanese poets, be&an to appea$ in ;n&lish
t$anslation a$ound the end o( the nineteenth -entu$y. *t see's that the ea$liest t$anslato$ to
publish Bash9s hokku ,as 5a(-adio Hea$n, ,ho, in his book 6:oti1s an* .etrospe1ti-es
D1898E, int$odu-ed the (a'ous poe' about a ($o& 2u'pin& into the old pond DHea$n sa, 'o$e
than one ($o& in this poe', ho,e1e$E. He also in-luded hokku by Bash in subse?uent books,
su-h as $ha*o7ings D19%%E and 7ai*an D19%KE. 4. /. 6ston9s A History of 2apanese
,iterature D1899E -ontained ei&ht Bash hokku in t$anslation, to&ethe$ ,ith a b$ie(
bio&$aphi-al sket-h and an inte$estin&Hbut unauthenti-atedHane-dote about the t$a1elin&
poet. Basil Hall 8ha'be$lain, ,ho thou&ht o( hokku poe's as nothin& 'o$e than a litte$ o(
b$i-ks, hal(b$i-ks in (a-t in -o'pa$ison ,ith "ennyson9s &$eat #ala-es o( 6$t, ne1e$theless
,ent on to t$anslate so'e thi$ty hokku by Bash. His lon& essay entitled Bash and the
3apanese #oeti-al ;pi&$a' D19%2E, ,hi-h in-luded those t$anslations, ,as the (i$st indepth
t$eat'ent o( hokku to appea$ in ;n&lish and, i( one -an dis-ount his Ni-to$ian lite$a$y taste, is
still ,o$th $eadin& (o$ its 'any pe$-epti1e -o''ents.
6l$eady in those ea$ly days the style o( t$anslation 1a$ied -onside$ably ,ith the t$anslato$.
8onside$, (o$ e0a'ple, the t$eat'ent o( Bash9s ,ellkno,n hokku on sAmi D-i-adaE, a
$elati1ely si'ple poe' as (a$ as its 'eanin& is -on-e$ned.
7e1e$ an inti'ation in all those 1oi-es o( sW'i
Ho, ?ui-kly the hush ,ill -o'eHho, speedily all
'ust die.D1E
"he -$y o( the -i-ada
/i1es no si&n
"hat p$esently it ,ill die.D2E
7othin& in the -i-ada9s 1oi-e
/i1es token o( a speedy death.D3E
;1idently the th$ee t$anslato$s unde$stood Bash9s 'eanin& in the sa'e ,ay, but the $esult
,as th$ee di((e$ent poe'sS
*n the yea$s that (ollo,ed, as 'o$e people t$ied thei$ hands at t$anslatin& hokku, stylisti-
1a$iations p$oli(e$ated still (u$the$. >n the ,hole, ea-h t$anslato$9s style see's to ha1e been
dete$'ined by t,o 'ain (a-to$s: his -on-eption o( the basi- natu$e o( hokku and his -hoi-e o(
;n&lish poeti- 'odels. "o use the sa'e Bash hokku (o$ illust$ation, Ha$old /. Hende$son,
,ho sa, the essen-e o( hokku in its $i&id, -ondensed, tension(illed (o$', $ende$ed it as
.o soon to die,
and no si&n o( it is sho,in&H
lo-ust -$y.DKE
,hile B$ank 5i1in&stone Huntley, ,ho $e-o&niCed in this hokku ,hat he -alled an a$- o(
Ien, -a'e up ,ith
Busy -i-adas -hi$p and -$y
>n b$illiant 6u&ust days,
ICu$$, CCu$$H
*n this i&no$ant haCe
"hey think they9ll ne1e$ die.D5E
*n the (inal analysis, t$anslation is a (o$' o( lite$a$y -$iti-is' as ,ell as a$tisti- -$eation, and
no 'atte$ ho, ha$d the t$anslato$ 'ay t$y to be-o'e t$anspa$ent, so'e p$esen-e ine1itably
sho,s th$ou&h.
Notes
1. 5a(-adio Hea$n, $ha*o7ings DBoston: 5ittle, B$o,n, 19%%E, p. 1%%.
2. 4. /. 6ston, A History of 2apanese ,iterature D5ondon: Heine'ann, 1899E, p. 295.
3. Basil Hall 8ha'be$lain, Bash and the 3apanese #oeti-al ;pi&$a', 'ransa1tions of
the Asiati1 $o1iety of 2apan 3% D19%2E. Rep$inted in 8ha'be$lain, 2apanese 5oetry
D5ondon: 3ohn @u$$ay, 191%E, p. 22%.
K. Ha$old /. Hende$son, An Intro*u1tion to Haiku D/a$den 8ity, 7.G.: :oubleday,
1958E, p. K3. Rep$inted by pe$'ission o( the publishe$.
5. B$ank 5i1in&stone Huntley, Ien and the *'a&ist #oets o( 3apan, 8omparati-e
,iterature K D1952E: 1J5. Rep$inted by pe$'ission o( @$. Huntley and 8omparati-e
,iterature(
@atsuo Bash and the #oeti-s o( .-ent by Ha$uo
.hi$ane
in: Har-ar* 2ournal of Asiati1 $tu*ies, Nol. 52, 7o. 1, 3une 1992, pp. JJ11%.
@atsuo Bash D1!KK1!9KE ,as (i$st and (o$e'ost a haikai linked 1e$se poet, and it is this
poeti- (o$', ,ith its se?uen-e o( alte$natin& se1enteen and (ou$teen syllable 1e$ses, ,hi-h lies
at the hea$t o( his lite$atu$e. Bash -o'posed in a 1a$iety o( haikai stylesH(i$st that o( the
"ei'on s-hool and then that o( the :an$in s-hoolHbe(o$e de1elopin& his o,n app$oa-h, the
Bash style D$h/f0E, ,hi-h -ontinued to e1ol1e until the end o( his -a$ee$. "he 'ost salient
-ha$a-te$isti- o( this haikai style, pa$ti-ula$ly as e'bodied in $arumino D"onkey;s $tra7
.ain1oat, 1!91E, the 'ost in(luential haikai antholo&y o( his s-hool, is the link by s-ent
Dnioi+zukeE, a ph$ase intended to su&&est the ,ay in ,hi-h a 1e$se -a$$ies the at'osphe$e o( its
p$ede-esso$ 'u-h as the ($a&$an-e o( a (lo,e$ is -a$$ied by the ,ind. 4hat then a$e the
-ha$a-te$isti-s o( nioi+zuke= Ho, did it e'e$&e= Ho, is it $elated to ea$lie$ te-hni?ues o(
linkin&= 4hat a$e its i'pli-ations (o$ unde$standin& Basho9s poet$y and p$ose=
yoraisho, a $e-o$d o( Bash9s tea-hin&s edited by @ukai Ayo$ai, one o( his -hie( dis-iples,
de(ines th$ee types o( haikai links: mono+zuke Dle0i-al linkE, kokoro+zuke D-ontent linkE,
and nioi+zuke Ds-ent linkE.
"he @aste$ said, "he hokku has -han&ed $epeatedly sin-e the distant past, but the$e ha1e
been only th$ee -han&es in the haikai link. *n the distant past, poets 1alued le0i-al links. *n the
'o$e $e-ent past, poets ha1e st$essed -ontent links. "oday, it is best to link by t$ans(e$en-e,
$e1e$be$ation, s-ent, o$ status.
1
Bash asso-iates the th$ee types o( links ,ith th$ee di((e$ent histo$i-al pe$iods: the distant
past o( "ei'on haikai, the s-hool established by @atsuna&a "eitoku D15J11!53E, ,hi-h
do'inated the haikai ,o$ld (o$ a hal( -entu$y ($o' 1!25 to about 1!JK+ the $e-ent past o(
:an$in haikai, the s-hool (ounded by 7ishiya'a .in D1!%51!82E, ,hi-h (lou$ished ($o'
1!J3 to 1!81+ and the haikai o( today, that o( the Bash s-hool, ,hi-h -a'e to the (o$e in
the 1!8%s.
*n yoraish/, mono+zuke, o$ koto!a+zuke D,o$d linkE, as it is o(ten -alled, $e(e$s to a link in
,hi-h the added 1e$se DtsukekuE is 2oined to the p$e1ious 1e$se DmaekuE by so'e (o$' o(
1e$bal asso-iation: eithe$ by the -odi(ied yoriai in ,hi-h, (o$ e0a'ple, the ,a$ble$ DuguisuE
and plu' blosso's DumeE a$e asso-iated by the -lassi-al t$adition, by the 'o$e ,ide
$an&in& engo D,o$d asso-iationsE, in ,hi-h ,o$ds su-h as bo, DyumiE and to st$et-h
DharuE a$e -ultu$ally asso-iated, o$ by so'e (o$' o( ho'ophoni- asso-iation Dkakekoto!aE. *n
the kokoro+zuke the added 1e$se is -onne-ted to the p$e1ious 1e$se by -ontent o$
'eanin& DkokoroE: the tsukeku usually e0pli-ates, e0pands upon, o$ alte$s the settin&, the
d$a'ati- -i$-u'stan-e, o$ the -ha$a-te$ p$esented in the p$e1ious 1e$se. "$ans(e$en-e
DutsuriE, $e1e$be$ation Dhi!ikiE, s-ent DnioiE, and status DkuraiE a$e all te$'s that -an be
subsu'ed unde$ the $ub$i- o( nioi+zuke, o$ link by s-ent, in ,hi-h the tsukeku is -onne-ted
to the p$e1ious 1e$se by o1e$tones o$ sha$ed -onnotations $athe$ than by le0i-al asso-iations
o$ -ontent.
"he di((e$en-e bet,een a kokoro+zuke and a nioi+zuke is $e1ealed in t,o di((e$ent $esponses to
a hokku, o$ openin& 1e$se, -o'posed by Bash in /en$oku 3 D1!9%E.
ki no 'oto ni
shi$u 'o na'asu 'o
saku$a kana
Beneath a t$ee:
-lea$ soup, pi-kled (ish,
and -he$$y blosso's tooS
Bash
asu ku$u hito ,a
kuyashi&a$u ha$u
6 sp$in& that b$in&s $e&$et
to to'o$$o,9s 1isito$
BQbaku
6ppa$ently dissatis(ied ,ith this se?uen-e, Bash p$esented the sa'e hokku on anothe$
o--asion.
ki no 'oto ni
shi$u 'o na'asu 'o
saku$a kana
Beneath a t$ee:
-lea$ soup, pi-kled (ish,
and -he$$y blosso's tooS
Bash
nishibi nodoka ni
yoki tenki na$i
6 sun settin& &ently in the ,est:
/$eat ,eathe$S
8hinseki
"his se-ond atte'pt pleased Bash so 'u-h that he pla-ed the thi$tysi0 1e$se kasen at the
be&innin& o( Hisago Dpublished 1!9%E, a 'a2o$ Bashs-hool antholo&y. *n the (i$st se?uen-e,
,hi-h is a typi-al kokoro+zuke, the added 1e$se is di$e-t na$$ati1e e0tension o( the -ontents
o( the p$e1ious 1e$se: to'o$$o,9s 1isito$s ,ill be disappointed to dis-o1e$ that the -he$$y
blosso's ha1e al$eady (allen. *n the se-ond se?uen-e, by -ont$ast, the tsukeku dilates only on
the 'ood o( the maeku, 'at-hin& the bal'y, (esti1e sp$in& at'osphe$e i'plied but not stated
in the maeku( "he $esult is the 'utual $esonan-e -ha$a-te$isti- o( s-ent links.
$anz/shi, a $e-o$d o( Bash9s tea-hin&s edited by :oh, &i1es t,o e0a'ples o( nioi+zuke(
akikaCe no
(une o ko,a&a$u
na'i no oto
ka$i yuku kata ya
.hi$oko 4aka'atsu
Bea$in& the boat
in the autu'n ,indH
sound o( the ,a1es
4he$e &o the ,ild &eese=
"o 4hite 8hild= Goun& #ine=D2E
"he added 1e$se takes up the o1e$tones o( the p$e1ious 1e$se and &i1es it e0p$ession in a
s-ene.
ita-hi no koe no
tana'oto no saki
hki&i ,a
'akaCu ni haete
shi&e$u na$i
8$ies o( a ,easel
beneath the kit-hen sink
7e1e$ seeded,
the b$oo' &$ass has &$o,n
hi&h and thi-k.D3E
"akin& up the (aint s-ent o( po1e$ty in the p$e1ious 1e$se, the se-ond 1e$se e0p$esses it in the
thi-k, unseeded b$oo' &$ass and the dilapidated house.
DNB3 51:58!E
*n the (i$st se?uen-e so'eone Da ,o'an=E una--usto'ed to t$a1el by sea is a($aid o( a boat
bein& $o-ked by the autu'n ,ind. *n the added 1e$se, the speake$, ,at-hin& the (li&ht o( ,ild
&eese, ,onde$s i( they a$e headed (o$ .hi$oko D4hite 8hildE o$ 4aka'atsu DGoun& #ineE,
t,o pla-es on *se Bay. "he hea$t that (ollo,s the -$yin& &eese Dt$aditionally asso-iated ,ith
nostal&iaE as they (ly o1e$ ,ate$ to,a$d distant pla-es is i'pli-itly a hea$t that lon&s (o$
ho'e. "he tsukeku -$eates a nioi+zuke in that it e-hoes the psy-holo&i-al and e'otional
i'pli-ations o( the p$e1ious 1e$se, spe-i(i-ally the loneliness and (ea$ o( a distant 2ou$ney. *n
the se-ond se?uen-e, the ,ild h/kigi D&$ass used to 'ake b$oo'sE, in a si'ila$ (ashion,
su&&ests the at'osphe$e o( po1e$ty and ne&le-t i'pli-it in the p$e1ious 1e$se.
"he (ollo,in& se?uen-e D7o. 151JE appea$s in a kasenHIn the 'o7n DI1hinaka 7aEHin
$arumino D1!91E.
uiky no
'i o (ukiotosu
yQa$ashi
.-atte$in& the seeds
o( the (ennel plantH
an e1enin& &ale
Ayo$ai
s yaya sa'uku
te$a ni kae$u ka
6 p$iest &$o,in& -old
as he $etu$ns to a te'ple=
Bon-h
sa$uhiki no
sa$u to yo o (u$u
aki no tsuki
@onkey t$aine$
passin& th$ou&h li(e ,ith a 'onkeyH
an autu'n 'oon
Bash
"he se-ond 1e$se adds a hu'an (i&u$eHa p$iest &$o,in& -old a(te$ a day o( be&&in& (o$ al's
Hthat -o$$esponds in 'ood to the lonely autu'n s-ene p$esented in the p$e1ious 1e$se. "he
thi$d 1e$se, ,hi-h, by the $ules o( linked 1e$se, 'ust 'o1e a,ay ($o' the (i$st 1e$se D-alled
the u1hikoshiE and -$eate a ne, unit ,ith the p$e1ious 1e$se, also d$a,s on the o1e$tones o(
the maeku( "he s-enes in the se-ond and thi$d 1e$sesHthe p$iest and the 'onkey t$aine$, ,ho
is (ated to pass the $est o( his li(e ,ith a 'onkeyHa$e di$e-tly $elated d$a'ati-ally o$
$heto$i-ally, and yet they a$e linked by o1e$lappin& -onnotations: the solitude and sadness o(
those ,ho stand outside the ,a$' e'b$a-e o( so-iety. "he sy''et$i-al 2u0taposition o( the
othe$,o$ldly p$iest and the ,o$ldly 'onkey t$aine$ also adds a tou-h o( haikai hu'o$.
*n a (ashion typi-al o( t$aditional poeti- t$eatises, Bash s-hool -o''enta$ies su-h as
$anz/shi and yoraish/ do not de(ine and e0plain the st$u-tu$e o( a pa$ti-ula$ link. *nstead,
they -ite one o$ 'o$e e0a'ple app$o1ed by the @aste$ as 'odels to be studied and e'ulated
by his (ollo,e$s. "he only -$iti-al te$' that -onsistently appea$s in $e&a$d to nioi+zuke is
o1e$tone DyoseiE, o$ $i-h -onnotations. 6s .hik, one o( Bash9s dis-iples, notes in 20ron;i
!ensh/ Dpublished 1J25E: 4hat is -alled an o1e$tone DyoseiE in -lassi-al poet$y is -alled
s-ent DnioiE in haikai. 6--o$din& to yoraish/,
Ayo$ai noted, *n the linked 1e$se o( the Bash s-hool, one a1oids tsukeku that d$a, di$e-tly
on the -ontent o( the p$e1ious 1e$se. *nstead, a(te$ -a$e(ully assessin& the s-ene and the
pe$son, the pe$son9s o--upation, and the pe$son9s -i$-u'stan-es, one should let &o o( the
p$e1ious 1e$se.
DNB3 51:5%8E
*n -ont$ast to a kokoro+zuke, ,hi-h is di$e-tly based on the -ontent o( the p$e1ious 1e$se,
the nioi+zuke lets &o o( the p$e1ious 1e$se, -$eatin& a si&ni(i-ant &ap o$ distan-e bet,een the
1e$ses. @ode$n 3apanese s-hola$s usually de(ine nioi as a 'anne$ o( linkin& in ,hi-h the
'ood, at'osphe$e, o$ e'otion o( the p$e1ious 1e$se is -a$$ied o1e$ to the added 1e$se o$
'ade to 'o1e ba-k and (o$th bet,een the t,o. 5ike o1e$tone, ho,e1e$, 'ood,
at'osphe$e, and e'otion a$e 1a&ue te$'s that $e(e$ 'o$e to the aestheti- e((e-t o( a nioi
link than to the st$u-tu$e o( the link itsel(.
Ro'an 3akobson has a$&ued that lite$a$y dis-ou$se de1elops alon& t,o (unda'ental lines o(
1e$bal beha1io$, sele-tion and -o'bination, that is to say, a 'etapho$i-al a0is, in ,hi-h ,o$ds
a$e linked by substitution, si'ila$ity, o$ dissi'ila$ity, and a 'etony'i- a0is, in ,hi-h ,o$ds
a$e 2oined by -onti&uity, pa$ti-ula$ly as a -o'bination o( ele'ents in a &$a''ati-al o$
na$$ati1e se?uen-e.
K
Nioi+zuke e0-luded linka&e by le0i-al asso-iations, that is to say,
'etony'y eithe$ th$ou&h yoriai, the -odi(ied le0i-al asso-iations de$i1ed ($o' the -lassi-al
t$adition, o$ th$ou&h the ,ide$$an&in& engo D,o$d asso-iationsE (ound in ea$lie$ haikai,
pa$ti-ula$ly that o( the "ei'on s-hool. 6n ideal nioi link also did not depend on 'etony'y in
its 'o$e &ene$al (o$'s o( -ause and e((e-t, na$$ati1e -ontinuity, -ha$a-te$ po$t$ayal, o$
dilation on an e0istin& s-ene.
*nstead, nioi poeti-s (a1o$ed a 'o$e 'etapho$i-al 2u0taposition in ,hi-h the maeku and the
tsukeku inte$se-ted on a sha$ed -onnotation, o(ten in 'onta&e (ashion. 5e0i-al links
Dkoto!a+zukeE also depended on sha$ed -onnotations, but these -onnotations ,e$e usually
-o''onpla-es, eithe$ (i0ed by lite$a$y -on1ention, as in yoriai, o$ -ultu$ally (a'ilia$ to all
edu-ated $eade$s, as in engo( Bash9s ideal link by s-ent, by -ont$ast, ,as based on analo&ies
that ,e$e distant, that is to say, not $eadily appa$ent and non-on1entional, but that, on-e
'ade, ,e$e all the 'o$e st$ikin&, no1el, and -o'pellin&. Nioi, in sho$t, ,as a $heto$i-al t$ope
in ,hi-h the t,o linked 1e$ses o(ten had the (un-tion o( 'utual 'etapho$s. "hese ,e$e not
'etapho$s in the t$aditional sense o( the ,o$d, in ,hi-h a di$e-t t$ans(e$en-e ,as 'ade
bet,een one i'a&e and anothe$. *nstead, the nioi link $elied on sele-ti1e 2u0taposition, in
,hi-h the -onne-tions ,e$e only su&&ested.
HIBIKI, UTSURI, AND KURAI
Nioi in the b$oad sense is a -o'p$ehensi1e te$' used to des-$ibe a -luste$ o( o1e$lappin& links
Hnioi, hi!iki, utsuri, kuraiHea-h o( ,hi-h $ep$esents a di((e$ent appli-ation o( the p$in-iple
o( s-ent. Nioi in the na$$o,, $est$i-ted sense is a link by s-ent that is ?uiet o$ &entle in 'ood
Dsu-h as the p$iestR'onkey t$aine$ o$ the ,easelRb$oo' &$ass se?uen-esE. 6 link by hi!iki
D$e1e$be$ationE, by -ont$ast, is hi&hly d$a'ati-. yoraish/ e0plains:
6 hi!iki link is like hittin& an ob2e-t so that it $e1e$be$ates.
ku$e9en ni
&in ka,a$ake o
u-hikudaki
'ihosoki ta-hi no
so$u koto o 'iyo
>n a 1e$anda,
s'ashin& to bits
a sil1e$painted bo,l
4at-h hi' t,ist the blade
o( the sab$e, $eady to d$a,SD5E
"he @aste$ &a1e this link as an e0a'ple and e0plained, his $i&ht hand &oin& th$ou&h the
'otion o( s'ashin& a bo,l and his le(t hand p$etendin& to d$a, a sab$e.
DNB3 51:5%KE
6 de-o$ati1e bo,l Dka7arakeE bein& s'ashed on a 'ansion 1e$anda su&&ests a dispute in an
uppe$-lass settin&. "his d$a'ati- tension $e1e$be$ates in the se-ond 1e$se, in ,hi-h a
na$$o, sab$e Dmihosoki ta1hiE, the type ,o$n by a$isto-$ats, is about to be d$a,n, p$esu'ably
in p$epa$ation (o$ a 1iolent st$u&&le. *n -ont$ast to nioizuke, ,hi-h is o(ten asso-iated ,ith a
subdued at'osphe$e, a hi!iki link i'plies an e0-ited, d$a'ati- 'ood in ,hi-h the se-ond
1e$se $e(le-ts the e'otional intensity and tension o( the p$e1ious 1e$se.
<tsuri is ,$itten eithe$ ,ith the -ha$a-te$ (o$ shi(tRt$ans(e$en-e o$ ,ith that (o$ $e(le-tion.
"he (o$'e$ -ha$a-te$ su&&ests that the 'ood 'o1es in one di$e-tion, ($o' the maeku to the
tsukeku, as opposed to 'utual inte$a-tion. $anz/shi &i1es the (ollo,in& e0a'ple.
tsuki 'iyo to
hikiokosa$ete
haCukashiki
ka'i ao&asu$u
usu'ono no tsuyu
5ook up at the 'oonSH
6$oused ($o' slu'be$,
she blushes.
6ttendants (annin& he$ hai$,
a thin silk $obe ,et ,ith de,D!E
"he appea$an-e o( the ,o'an in the p$e1ious 1e$se is t$ans(e$$ed to the se-ond 1e$se, ,hi-h
depi-ts a ladyin,aitin& at the i'pe$ial pala-e.
DNB3 51:585E
*n the (i$st 1e$se, ,hi-h su&&ests a Heian tale o( lo1e, a ,o'an is a,akened by so'eone Da
lo1e$=E askin& he$ to en2oy the 'oon and (inds he$sel( in an e'ba$$assin& position. "he
(e'inine, e$oti- 'ood o( the maeku t$ans(e$s to the se-ond 1e$se, ,he$e a -ou$t lady,
,ea$in& only a thin silk $obe DusumonoE, is ha1in& he$ attendants (an he$ hai$ d$y.
4hen ,$itten ,ith the &$aph (o$ $e(le-tion, utsuri su&&ests that the maeku and the tsukeku
$e(le-t upon ea-h othe$, the$eby deepenin& the o1e$tones o( both. 4amanaka sh0 Dpublished
1J%KE, ,hi-h $e-o$ds Bash9s a-ti1ities in 1!89, &i1es the (ollo,in& e0a'ple.
shiba ka$ikokasu
'ine no sasa'i-hi
'atsu (ukaki
hida$i no ya'a ,a
su&e no te$a
8hoppin& do,n b$ush,ood
on a ba'boo path to the peak
:eep a'idst the pinesH
a that-h$oo(ed te'ple
on the 'ountain to the le(t
"he @aste$ said, 6s a $e(le-tion DutsuriE o( T8hoppin& do,n b$ush,ood,U one should ha1e
THailstones pou$in& do,nU in the (i$st (i1e syllables o( the added 1e$se.
"he tsukeku subse?uently ,as -han&ed in a--o$dan-e ,ith Bash9s ad1i-e.
J
*n the $e1ised
1e$sion, Hailstones pou$in& do,n Darare furuE, a 1iolent ,inte$ i'a&e, $e(le-ts the b$ute
a-tion su&&ested in the p$e1ious 1e$se. 4hen de(ined as 'utual $e(le-tion, utsuri be-o'es
synony'ous ,ith nioi in the b$oad sense. *ndeed, in yoraish/ Bash uses utsuri and nioi
to&ethe$ as i( they $e(e$ to the sa'e pheno'enon. <tsuri also be-o'es insepa$able ($o'
hi!iki ,hen the 'ood $e(le-ted in the link is e'otionally o$ d$a'ati-ally tense. *ndeed, the
enti$e -luste$ o( links -ould ha1e been $e(e$$ed to as the poeti-s o( 'utual $e(le-tion DutsuriE
$athe$ than, as it t$aditionally has been, that o( s-ent.
6nothe$ type o( link 'entioned in yoraish/ and asso-iated ,ith nioi+zuke is the kurai
Dlite$ally, $ank o$ so-ial statusE link in ,hi-h the t,o 1e$ses a$e 2oined by so-ial
-onnotationsHde$i1in& ($o' -lothin&, 'ate$ial possessions, o$ othe$ si&ns.
Bonen asked, 4hat is kuraiJ
Ayo$ai ans,e$ed, 4hen one &$asps the so-ial status o( the p$e1ious 1e$se and adds an
app$op$iate 1e$se. ;1en i( a 1e$se is supe$b, i( it does not 'at-h the so-ial status (ound in the
p$e1ious 1e$se, the $esult ,ill be disha$'ony. 6llo, 'e to e0plain, usin& a lo1e 1e$se by the
@aste$.
u,aoki no
hoshina kiCa'u 'o
u,a no so$a
u'a ni denu hi ,a
u-hi de koisu$u
;1en ,hile -hoppin&
d$ied 1e&etables (o$ the $i-e,
he$ hea$t ,as a(lutte$
>n days ,hen he does not take
the ho$se out, he 'akes lo1e at ho'e.D8E
*n the (i$st 1e$se, the ,o'an is neithe$ so'eone9s ,i(e no$ a (e'ale attendant in the house o(
a sa'u$ai o$ to,ns'an. .he is a 'aid ,o$kin& at a post station o$ a ,a$ehouse.
DNB3 51:5%K5E
Hoshina Dd$ied 1e&etablesEHusually d$ied $adish lea1esH,as pla-ed on top o( a bo,l o(
$i-e to 'ake an ine0pensi1e dinne$. RealiCin& ($o' the (ood that the pe$son in the maeku is a
,o'an o( e0t$e'ely lo, station, pe$haps a 'aid ,o$kin& in a ,a$ehouse, Bash 'at-hes he$
,ith a &$oo', a 'an o( e?ually lo, so-ial statu$e. 5inks by s-ent, $e1e$be$ation, and
t$ans(e$en-e 'ay also be kurai links. Bo$ e0a'ple, a di$e-t so-ial -o$$esponden-e Da$isto-$ati-
ba-k&$oundE e0ists bet,een the sil1e$painted bo,l s'ashed on the 'ansion 1e$anda and the
slende$ s,o$d, ,o$n only by a$isto-$ats. 6nd the 1e$se on the ,easel beneath the sink e-hoes
that on o1e$&$o,n b$oo' &$ass: both su&&est lo,e$-lass, i'po1e$ished li(e.
Bash9s poeti-s o( s-ent and 'utual $e(le-tion 'ay be -o'pa$ed to the 'onta&e in 'ode$n
-ine'a in ,hi-h a su--ession o( see'in&ly un$elated shots a$e -losely linked by -onnotation
o$ o1e$tone. .e$&ei ;isenstein, a pionee$ in (il' p$odu-tion and theo$y, on-e de(ined 'onta&e
as an idea that a$ises ($o' the -ollision o( independent shots and that 'ay $esult in
e'otional dyna'iCation.
9
6 'onta&e e?ui1alent o( the 'editati1e nioi linkHnioi in the
na$$o, senseH'i&ht be the s-ene o( a youn& a$isto-$ati- lady st$ollin& a-$oss a ,ell
'ani-u$ed &a$den (ollo,ed by a shot o( a s,an &lidin& a-$oss the ,ate$, the subdued but
ele&ant 'oods o( the t,o &ently inte$se-tin&. 6 hi!iki 'onta&e, on the othe$ hand, ,ith its
d$a'ati- tension o$ e'otional intensity, 'i&ht be the -ine'ati- 2u0taposition o( an e0plosion
$o-kin& a b$i-k buildin& and a sleepy(a-ed lion suddenly $oa$in&. 6 -ine'ati- utsuri
Dt$ans(e$en-eE link -ould be a s-ene o( a -ouple kissin& (ollo,ed by a shot o( an a1o-ado
bein& peeled. "he se-ond s-ene, ,hile un$elated to the (i$st, is ob1iously -olo$ed, &i1en a
de(inite se0ual $esonan-e. "he sense o( se0uality is t$ans(e$$ed ($o' one s-ene to the ne0t. 6
kurai link 'i&ht be the 2u0taposition o( a shot o( a be&&a$ on a -ity st$eet ,ith the shot o( a
do& e'e$&in& ($o' a 'ud puddle. *n the 'onta&e, the se-ond shot deepens a pa$ti-ula$
e'otional e((e-t (ound in the (i$st shot, o$ 1i-e 1e$sa, the -o'bination o(ten -$eatin&
;isenstein9s e'otional dyna'iCation, an e'otional $e1e$be$ation that neithe$ o( the shots by
itsel( -ould p$odu-e.
1%
TOWARD DISTANT LINKS
"he poeti-s o( s-ent should be unde$stood in the la$&e$ histo$i-al -onte0t, in $elationship to
the de1elop'ent o( both haikai and -lassi-al $en&a. Basho9s nioi+zuke is $e'inis-ent o( the
distant links DsokuE (ound in -lassi-al ,aka, pa$ti-ula$ly that o( the $hinkokinsh0, and then
late$ in the -lassi-al $en&a o( the @u$o'a-hi pe$iod D139215J3E. "he te$'s soku Ddistant
linkE and shinku D-lose linkE ,e$e (i$st used in Aa'aku$ape$iod ,aka t$eatises su-h as
$angoki and %uhish/ to de(ine the $elati1e distan-e bet,een the se1enteensyllable uppe$
pa$t Dkami no kuE and the (ou$teensyllable lo,e$ pa$t Dshimo no kuE o( the thi$tyone
syllable ,aka. *n $asamegoto D1K!3E, .hinkei D1K%!1KJ5E, an ad1o-ate o( distant links in
-lassi-al $en&a, &i1es the (ollo,in& ,aka by 3ien in the $hinkokinsh0 D7o. 1J8%E as an
e0a'ple o( a distant link.
11
o'ou koto
nado tou hito no
naka$u$an
ao&eba so$a ni
tsuki Co sayakeki
4hy does no one
in?ui$e about
'y da$k thou&hts=
4hen * &aCe up:
a -lea$ 'oon in the sky
"he uppe$ pa$t, ,hi-h is hi&hly e'oti1e and sub2e-ti1e, stands at a distan-e ($o' the lo,e$
pa$t, ,hi-h p$esents a natu$al s-ene, the$eby -ausin& the $eade$ to b$id&e the &ap, to b$in&
to&ethe$ the o1e$tones and -onnotations o( the t,o pa$ts Din this -ase, the i'plied
enli&hten'ent o( the 'oon and the da$kness o( the hu'an hea$tE. <nlike his (a'ous
p$ede-esso$ .Cei Dd. 1K55E, a $en&a 'aste$ kno,n (o$ his $heto$i-ally elabo$ate, ho'ophoni-,
le0i-ally o$iented links, .hinkei ad1o-ated distant links that es-he,ed int$i-ate ,o$d play,
that e'phasiCed the unstated, and that $esulted in ele&ant and 'yste$ious o1e$tones. "he
(ollo,in& se?uen-e by .hinkei appea$s in $hinsen tsuku!ash0 DNol. 1, .p$in& *, Z858!E, a
$en&a antholo&y -o'piled in 1K95.
u$asabishiku 'o
ha$u kae$u ko$o
'oshio yaku
kebu$i ni kasu'u
ka$i nakite
.o'eho, lonely
as sp$in& passes a,ay
B$o' the bu$nin& sea,eed
s'oke $ises in a 'ist
,he$e the ,ild &eese -$y
"$ans(o$'in& the ,o$d so'eho, DuraE in the maeku to 'ean bay DuraE, the added 1e$se
p$esents a lands-apeHthe bu$nin& sea,eed, sp$in& 'ist, and ,ild &eese on a bayHthat
distantly su&&ests, by its -onnotations, the e'otions stated in the p$e1ious 1e$se. .&i D1K21
15%2E, ,hile o(ten en&a&in& in the kind o( 1e$bal play that .Cei ,as (a'ous (o$, (u$the$
de1eloped the $en&a o( o1e$tones ad1o-ated by .hinkei. 6 &ood e0a'ple is the (ollo,in&
se?uen-e D1e$ses si0 and se1enE in "inase sangin D1K88E, a hyakuin Dhund$ed 1e$seE
se?uen-e -o'posed by .&i, .hhaku, and .-h.
shi'o oku noha$a
aki ,a ku$eke$i
Bields o( ,hite ($ostH
autu'n -o'in& to a -lose.
.-h
naku 'ushi no
koko$o to 'o naku
kusa ka$ete
*&no$in& the hea$ts
o( the -$yin& inse-ts,
the &$ass ,ithe$s
.&i
"he speake$ i'pli-itly ,ishes to keep listenin& to the sound o( the autu'n inse-ts, but the
&$ass, ,hi-h the inse-ts depend on (o$ su$1i1al, heeds neithe$ the inse-ts no$ the speake$. "he
t,o 1e$ses a$e 2oined at 1a$ious le1els: by yoriai, ($ost, inse-t -$ies, and ,ithe$ed &$ass
bein& -losely asso-iated in the -lassi-al t$adition+ by s-eni- e0tension o$ -ontent DkokoroE+
and by o1e$tones, by a -o''on 'ood o( autu'nal (o$lo$nness, so$$o,, and sense o(
t$ansien-e, ,hi-h de$i1es in la$&e pa$t ($o' the hon;i, o$ the (i0ed -onnotations bo$ne by
,o$ds de$i1ed ($o' the 7aka t$adition.
@u$o'a-hi haikai, spe-i(i-ally that o( Ga'aCaki .kan and 6$akida @o$itake D1KJ315K9E,
t,o haikai pionee$s, ,as essentially -loselink haikai and ,as -ons-iously opposed to soku, to
the distant links (ound in -lassi-al $en&a. "oritake senku D153!K%E, a thousand1e$se haikai
se?uen-e by @o$itake, be&ins ,ith the (ollo,in& 1e$ses.
12
tobiu'e ya
ka$o&a$oshiku 'o
ka'i no ha$u
,a$e 'o ,a$e 'o no
ka$asu u&uisu
Blyin& plu' blosso'sH
e1e$ so li&htly,
a di1ine sp$in&
8$o,s, ,a$ble$s, -$yin&
@e tooS 'e tooS
"he hokku, ,hi-h puns on the ,o$d kami Ddi1ine spi$it and pape$E, des-$ibes the
le&enda$y plu' blosso's that (le, to distant :aCai(u out o( lon&in& (o$ thei$ e0iled 'aste$
.u&a,a$a no @i-hiCane, ,hose di1ine spi$it -aused su-h 'i$a-les: the plu' blosso's a$e
(lyin& as li&htly Dand di1inelyE as pape$. "he added 1e$se t$ans(o$'s the ,o$d karogaroshiku
De1e$ so li&htlyE to 'ean i'petuously: -$o,s and ,a$ble$sHand i'pli-itly e1e$yoneH
-la'o$ 'adly to (ollo, the (lyin& plu' blosso's. *n @o$itake style, the 1e$ses a$e -losely
linked by engo Ddi1ine spi$it and -$o,E and yoriai Dplu' blosso' and ,a$ble$E.
5ike @u$o'a-hi haikai, "ei'on haikai, the (i$st 'a2o$ "oku&a,a s-hool o( haikai, depended
hea1ily on le0i-al asso-iation. *n 'ensuish/ D-a. 1!KKE, a "ei'on se-$et t$eatise, @atsuna&a
"eitoku, the (ounde$ o( the "ei'on s-hool, notes,
*n -lassi-al $en&a, the 'ain ob2e-ti1e is to -$eate a 1e$se o( supe$io$ ?uality e1en i( it is
sli&htly distant ($o' the p$e1ious 1e$se. Haikai, ho,e1e$, is di((e$ent. 7o 'atte$ ho, &ood a
1e$se 'ay be, i( it does not adhe$e to the p$e1ious 1e$se, one -an not -onside$ it a &ood 1e$se.
*n haikai, one 'ust -o'pose ,ith the ne, 1e$se -losely adhe$in& to the p$e1ious 1e$se e1en i(
it 'eans -$eatin& an in(e$io$ 1e$se.
13
By -lose links "eitoku 'eans haikai links based on 1e$bal asso-iation, pa$ti-ula$ly yoriai,
engo, kakekoto!a, and torinashi+zuke Dlite$ally, takin& by (o$-eE, in ,hi-h the -ontent o( the
maeku is $adi-ally alte$ed by ho'ophoni- play, a lo1e 1e$se on $esent'ent DuramiE, (o$
e0a'ple, suddenly be-o'in& a t$a1el 1e$se on 1ie,in& a bay DuramiE, o$ (ields o( hea1en
Dama no haraE tu$nin& into the sto'a-h o( a nun Dama no haraE. *n Haikai no 1h0 D1!K2E,
Gasuha$a "eishitsu D1!1%1!J3E, a leade$ o( the "ei'on s-hool, asse$ts that Haikai 'ust
-ente$ on links by torinashi(
1K
>the$ popula$ "ei'on linkin& te-hni?ues in-lude honka*ori,
,hi-h d$e, on ,o$ds ($o' -lassi-al poet$y, and kokoro+zuke Dnot to be -on(used ,ith the
-ontent links by the sa'e na'eE, ,hi-h allude to e1ents in -lassi-al monogatari and
8hinese lite$atu$e. 'eitoku hyakuin *okugin &i1h0 Dpublished 1!59E, a (a'ous solo hyakuin
,ith sel(-o''enta$y by "eitoku, be&ins ,ith:
uta iCu$e
Ao'a-hi odo$i ya
*se odo$i
doko no bon ni ka
o$iya$u "su$ayuki
so$a ni shi$a$enu
yuki (u$u ,a
tsukiyo nite
4hi-h son&s a$e bette$=
"hose o( the Ao'a-hi :an-e
o$ those o( the *se :an-e=
"o ,hi-h Besti1al o( the :ead
,ill "su$ayuki $etu$n=
<nnoti-ed by the sky,
sno, is (allin& beneath
the e1enin& 'oonD15E
*n the openin& 1e$se, the speake$ -annot de-ide ,hi-h o( t,o popula$ (olk dan-e$sRson&s is
supe$io$, the t,o i'pli-itly bein& as e?ually 'at-hed as >no no Ao'a-hi and 5ady *se, t,o
(a'ous Heian ,o'en poets. *n the se-ond 1e$se, the speake$ ,onde$s to ,hose house Dthe
Ao'a-hi :an-e$s9 o$ the *se :an-e$s9=E the spi$it o( Ai no "su$ayuki, ,ho -an a-t as a poeti-
2ud&e, ,ill $etu$n du$in& Bon DBesti1al o( the :eadE. "su$ayuki, a (a'ous Heian poet, is
linked to >no no Ao'a-hi and 5ady *se by engo as a$e Bon, dan-e, and 'oon. *n
torinashi (ashion, the thi$d 1e$se, ,hi-h alludes to the (ollo,in& "su$ayuki poe' in the
$h0ish0 D7o. !KE, takes the yuki in "su$ayuki9s na'e to -$eate a 1e$se about sno, DyukiE.
saku$a -hi$u
ko no shitakaCe ,a
sa'uka$ade
so$a ni shi$a$enu
yuki Co (u$ike$u
Beneath the -he$$y t$ees,
,he$e the blosso's s-atte$,
the b$eeCe is not -oldH
<nnoti-ed by the sky,
sno, is (allin&S
*n -ont$ast to "su$ayuki9s poe', in ,hi-h the -he$$y blosso's s-atte$ like sno,(lakes, the
&$ound lit by the b$i&ht e1enin& 'oonH,he$e people a$e dan-in& at the Bon (esti1alHlooks
like sno,.
6s the abo1e e0a'ple su&&ests, "ei'on links ,e$e usually a -o'bination o( -ontent links
and le0i-al links. *ndeed, in an e((o$t to $aise the a$isti- le1el o( haikai and b$in& haikai
-lose$ to -lassi-al $en&a, "eitoku disallo,ed 1a$ious kinds o( -lose links (ound in ea$lie$
haikai. "eitoku9s haikai handbooksHsu-h as %osan Dpublished 1!51E and $hinz/
Inutsuku!ash0 Dpublished in 1!K3EH(o$bid the use o( y0+zuke D(un-tion linksE, in ,hi-h the
added 1e$se des-$ibes so'e (un-tion o$ aspe-t Dy0E o( the 'ain topi- DtaiE in the
p$e1ious 1e$se. DBo$ e0a'ple, st$et-h DharuE, push DosuE, and tip DsueE ,e$e -onside$ed
(un-tions Dy0E o( bo, DyumiE.E 7o$ should the tsukeku use a ho'ony' D*/iEHsu-h as
tamazusa and fumi, both o( ,hi-h 'ean epistleHo( a ,o$d in the maeku( *denti-al 8hinese
-ha$a-te$s D*/&iE o$ syllables ,e$e also (o$bidden. .u-h links, ,hi-h had also been banned in
-lassi-al $en&a, &ene$ally (ailed to -$eate the 'o1e'ent and -han&e that he -onside$ed 1ital to
linked 1e$se.
*n -ont$ast to the int$i-ate, ti&htly -ont$olled e0tended se?uen-es (ound in "ei'on haikai,
:an$in haikai links ,e$e ($ee$, less bound by $ules, and st$essed -ontent links Dkokoro+
zukeE. *t also $ee'ployed so'e o( the -lose link te-hni?ues (ound in @u$o'a-hi haikai but
late$ banned by "eitoku su-h as y0+zuke and u7asa+zuke D$u'o$ linksE, in ,hi-h the
tsukeku di$e-tly e0pli-ates the p$e1ious 1e$se o$ $ese'bles it in -on-eption. :an$in haikai ,as
'o$e distant than "ei'on haikai in that it &a1e &$eate$ st$ess to -ontent links Dkokoro+zukeE
o1e$ le0i-al asso-iation, but it too -ontinued to $ely hea1ily on engo, kakekoto!a, and yoriai,
in-ludin& an o--asional torinashi( #e$haps the 'ost -ha$a-te$isti- type o( :an$in link ,as the
nuke Dso'eti'es -alled nukegara o$ nukiE, in ,hi-h the key ,o$d o$ topi- linkin& the added
1e$se to the p$e1ious 1e$se is delibe$ately le(t out DnukeE o( the tsukeku(
1!
"he (ollo,in&
se?uen-e appea$s in 9saka *okugin sh0 D1!JKE, in a solo hyakuin by ;tsushun, ,ith
-o''enta$y by .in.
aoao to
shiki'i ,a ha$u no
ki na$ubeshi
kasu'u ya'aCaka
'i-hi &o2ut-h
:eep &$een,
the sta$ anise is su$ely
a 'a$k o( sp$in&S
@isted 'ountain $oad
Bi(ty blo-ks lon&
6ta&o is (ully e0p$essed ,ithout bein& 'entioned.
1J
"he ,o$d 6ta&o @ountain D6ta&osanE, ,hi-h ,as asso-iated ,ith sta$ anise DshikimiE in
-lassi-al poet$y and ,hi-h p$o1ides the -$iti-al link bet,een the t,o 1e$ses, is delibe$ately
le(t out. 8onte'po$a$y $eade$s kne,, ho,e1e$, that the ph$ase $oad (i(ty blo-ks lon& Dmi1hi
go&ut1h/E 'eant the distan-e up to the (a'ous sh$ine on the peak o( 6ta&o. 6 'o$e -ontent
o$iented link, $e(e$$ed to as kokoro no nuke, is the (ollo,in& ($o' $aikaku haikai /kukazu
D1!JJE, an e0tended solo se?uen-e by .aikaku.
sannin na$abi ni
sakite no 'onodo'o
-hi$i'en no
u$a (ukikaesu
na&abao$i
kiCukai shiya$u na
'yaku &a naotta
"h$ee in a $o,,
(oot soldie$s at the ($ont
4ea$in& a lon& -oat,
the silk linin& e0posed
by the ,ind
7o need to ,o$$yS
Gou$ pulse is all $i&ht no,.D18E
"he (i$st and se-ond 1e$ses p$esent (oot soldie$s 'a$-hin& at the head o( a dai'yo p$o-ession.
"he se-ond and thi$d 1e$ses, ho,e1e$, t$ans(o$' the s-ene into one in ,hi-h a do-to$ is
attendin& a patient, thou&h the key (i&u$esHthe do-to$ and the patientHa$e le(t un'entioned.
6s a (o$' o( le0i-al linka&e Dkoto!a+zukeE, nuke $ep$esents a (u$the$ e0tension o( the -lose
links and ,o$d asso-iations (ound in "ei'on haikai, but in st$essin& 'issin& -ontentHin
su&&estin& but not statin&Hthe nuke link, pa$ti-ula$ly the kokoro no nuke, $ep$esented a
-$iti-al step a,ay ($o' "ei'on haikai and to,a$d distant links, espe-ially the poeti-s o(
o1e$tones that ,as soon to be de1eloped by @atsuo Bash.
"he 8hinese style, ,hi-h e'e$&ed in the ea$ly 1!8%s, 'a$ks the be&innin& o( the t$ansition
($o' the -lose link haikai o( the "ei'on and :an$in s-hools to the distant links (ound in the
'o$e 'atu$e Bash style. "he (ollo,in& 1e$ses Dno. 111KE appea$ in a (i(ty1e$se se?uen-e in
2iin D1!81E -alled Beet o( the .no,y He$on D$agi no ashiE -o'posed by Bash and his
a-?uaintan-es.
ko&a$ashi no
ko2iki ni noki no
shita no kasu
5endin& spa-e
beneath the ea1es to a be&&a$
in the ,inte$ ,inds
.ai'a$u
senso o 'ishi$u
shi'o no yo&ata$i
:is-o1e$in& -o''on an-esto$s
,hile -hattin& on a ($osty ni&ht
Gsui
to'oshibi o
ku$aku yQ$ei o
yo ni kaesu na$i
:i''in& the la'p
and be-konin& &hosts
ba-k to this ,o$ld
Aikaku
(u$uki kbe ni
katsu$a hikkake
#la-in& a ,i&
on an an-ient skull
Bash DNB3 32.3!1!2E
"he se?uen-e -$eates a na$$ati1e 'onta&e: a -on1e$sation ,ith a be&&a$, ,hi-h leads to a
hyaku monogatari, in ,hi-h &host sto$ies a$e told by la'p li&ht, (ollo,ed by the appea$an-e
o( a &host pla-in& a ,i& on an old skull. *n the (ashion o( a kokoro+zuke, ea-h added 1e$se
builds on the -ontent o( the p$e1ious 1e$se, a'pli(yin& so'e i'plied o$ sub'e$&ed ele'ent
o( the maeku ,ithout $elyin& on le0i-al linka&e. *ndeed, the e0tensi1e use o( 8hinese &$aph
-o'pounds and kun*oku &$a''a$ in this 8hinese style 'ade it al'ost i'possible to
e'ploy the 1e$bal play (ound in "ei'on and :an$in haikai. *nstead, the poets depended 'o$e
on the -onnotations &ene$ated by the 2u0taposed i'a&es, ,hi-h tended to be 'o$e subdued.
"he -ouplet (o$'at and pa$allel lines o( 8hinese poet$y also appea$ to ha1e en-ou$a&ed a
poeti-s o( 'utual -o$$esponden-e.
19
By the 3ky pe$iod D1!8K88E, ,hen the Bash style ,as established, the distan-e bet,een
the 1e$ses had in-$eased to the point ,he$e they ,e$e -alled s-ent links. "he (ollo,in&
se?uen-e -o'es ($o' the openin& o( Aite9s Beathe$s D'o!i no haE, a kasen in $arumino
D"onkey;s $tra7 .ain1oat, 1!9%E, the Bash s-hool antholo&y 'ost -losely asso-iated ,ith
the poeti-s o( s-ent.
tobi no ha 'o
kaitsuku$oinu
hatsushi&u$e
;1en the kite9s (eathe$s
a$e tu-ked in ti&htH
(i$st ,inte$ sho,e$s
Ayo$ai
hito(uki kaCe no
ko no ha shiCu'a$u
Blo,n by a &ust o( ,ind,
the t$ee lea1es -o'e to $est
Bash
'o'ohiki no
asa ka$a nu$u$u
ka,a koete
"$ouse$s soaked
($o' ea$ly 'o$nin&:
-$ossin& a $i1e$
Bon-h
tanuki o odosu
shinoha$i no yu'i
Ba'boo poles bent ba-k,
set up to s-a$e $a-oons
Bu'ikuni
'ai$ado ni
tsuta haikaka$u
yoi no tsuki
Nines -$a,lin&
o1e$ the latti-e doo$H
an e1enin& 'oon
Bash
hito ni 'o ku$eCu
'eibutsu no nashi
7ot o((e$in& e1en the 1isito$s
the (a'ous pea$s
Ayo$ai
"he hokku su&&ests a ,inte$ s-ene in ,hi-h e1en a to!i, a bi$d ,hose (eathe$s a$e usually
pu((ed out, has pulled in its ,in&s du$in& the (i$st ,inte$ sho,e$s DhatsushigureE, a seasonal
,o$d asso-iated ,ith loneliness. "he se-ond 1e$se de1elops the o1e$tones o( lonely desolation
by addin& the ,et t$ee lea1es that ha1e settled do,n a(te$ the ,inte$ sho,e$s. "he thi$d 1e$se,
,hi-h p$esents so'eone $epeatedly -$ossin& a $i1e$ sin-e ea$ly 'o$nin&, -a$$ies on the ,et,
-old (eelin& o( the p$e1ious 1e$se. "he (ou$th 1e$se pla-es the $i1e$ nea$ a (a$' o$ 'ountain
lod&e ,ith ba'boo poles bent ba-k, $eady to s-a$e o(( $a-oons. *n the (i(th 1e$se, the ,ild
1ines and e1enin& 'oonH-oupled ,ith the ba'boo s-ene in the p$e1ious 1e$seHsu&&est a
?uiet, abandoned d,ellin& deep in the 'ountains. "he si0th 1e$se -asts the (a$'e$ o$
'ountain d,elle$ in the maeku as an e--ent$i- ,ho does not e1en o((e$ 1isito$s the pea$s (o$
,hi-h the pla-e is (a'ous. "he haikai se?uen-e 'o1es 'etony'i-ally, ($o' one settin& to
anothe$, and yet ea-h 1e$se is -losely 2oined to the p$e1ious 1e$se by o1e$lappin& 'oods,
pa$ti-ula$ly a sense o( ?uiet loneliness and desolation, an aestheti- inhe$ited ($o' the
'edie1al poeti- t$adition but e0p$essed he$e in haikai (ashion, ,ith 1e$na-ula$, lo, ,o$ds
ne1e$ (ound in -lassi-al poet$y.
6s this b$ie( su$1ey o( haikai linka&e su&&ests, the 1ie, o( lite$a$y histo$y p$esented in
yoraish/, ,hi-h identi(ies th$ee su--essi1e haikai s-hoolsH"ei'on, :an$in, and BashH
,ith th$ee di((e$ent types o( links Dkoto!a+zuke, kokoro+zuke, and nioi+zukeE, $ep$esents only a
p$o&$a''ati- ideal and is in (a-t a se$ious disto$tion. "ei'on poets, ,hile ($e?uently
e'ployin& le0i-al asso-iations, also $elied hea1ily on links by -ontent DkokoroE and e1en
$e&a$ded kokoro+zuke as an ideal. :an$in poets, ,hile st$essin& links by -ontent,
pa$ti-ula$ly in the $apid yakazu solo se?uen-es, -ontinued to 'ake e0tensi1e use o( le0i-al
links and ,o$d play. 6nd ,hile Bash identi(ied his s-hool ,ith links by s-ent, he and his
dis-iples $elied e0tensi1ely on -ontent links and so'eti'es e1en used le0i-al links,
usually 'i0in& all th$ee types o( links in the -ou$se o( a thi$tysi0 1e$se kasen( Nioi+zuke
$ep$esented a poeti- ideal $athe$ than a -onstant. *n (a-t, too 'any su--essi1e nioitype links
-ould se$iously $eta$d the p$o&$ess o( a se?uen-e.
*nstead o( $e2e-tin& -ontent links, Bash pushed this pa$ti-ula$ type o( link to the point
,he$e it o(ten be-a'e a yosei+zuke, a link by o1e$tone, in ,hi-h the p$i'a$y (o-us ,as on
the sha$ed -onnotations $athe$ than on the na$$ati1e o$ s-eni- -ontinuity. Bashs-hool haikai,
,hile -$eatin& a (o$' o( e'otional dyna'iCation, di((e$ed ($o' -ine'ati- 'onta&e in that
'ost 1e$ses ,e$e a -o'bination o( a -ontent link and a s-ent link. "he (ollo,in& 1e$ses
D7o. 1J18E appea$ in Ho$sebean D$oramameE, a kasen in $umi*a7ara D/en$oku J, 1!9KE,
-onside$ed the last &$eat antholo&y o( the Bash s-hool.
yuki no ato
(ukiha&ashita$u
obo$oCuki
5in&e$in& sno,,
blo,n and st$ipped a,ay
beneath a 'isty 'oon
Aooku
(uton 'a$u&ete
'ono o'oi o$u
Rollin& up the beddin&,
sunk in 'elan-holy thou&hts
Bash
"he added 1e$se, ,hi-h su&&ests the e'otions o( a ne&le-ted lo1e$ Dpossibly an abandoned
,o'anE, d$a,s on the o1e$tones o( the p$e1ious 1e$se, pa$ti-ula$ly the -lassi-al asso-iation o(
'isty sp$in& 'oon Do!orozukiE ,ith e$oti- lon&in&, the$eby 'akin& the sp$in& lands-ape in
the p$e1ious 1e$se an i'pli-it 'etapho$ (o$ the (eelin&s o( the ,o'an sunk in 'elan-holy
thou&hts. "he tsukeku is thus linked to the maeku both 'etony'i-allyHby s-eni- e0tension,
in ,hi-h the ,o'an $olls up the beddin& beneath the 'isty sp$in& 'oonHand
'etapho$i-ally, by -onnotati1e o$ e'oti1e asso-iations.
*nui Hi$oyuki and .hi$aishi "eiC, t,o 'ode$n s-hola$s, ha1e sepa$ately a$&ued that -lassi-al
$en&a died as an a-ti1e and in(luential &en$e in the /en$oku pe$iod D1!881J%KE and that the
e'e$&en-e o( distantlink haikai at this ti'e is $elated to its de'ise.
2%
<ntil the /en$oku
pe$iod, haikai e0isted in an antitheti-al, pola$ $elationship to -lassi-al $en&a, bein& la$&ely
de(ined by its di((e$en-es ,ith the -lassi-al t$adition. Bo$ poets su-h as @atsuna&a "eitoku
D15J11!53E and 7ishiya'a .in D1!%51!82E, ,ho ,e$e $aised and edu-ated in the -lassi-al
t$adition, haikai stood in a p$oble'ati- $elationship to -lassi-al $en&a and ,aka. D.in in (a-t
$etu$ned to -lassi-al $en&a at the end o( his -a$ee$.E By -ont$ast, the haikai poets ,ho e'e$&ed
in the Aanbun e$a D1!!1J3E and ,ho 'atu$ed in the /en$oku pe$iod ,e$e not (o$'e$ ,aka
poets like "eitoku o$ -lassi-al $en&a 'aste$s su-h as .in. "hou&h they p$obably studied these
-lassi-al &en$es, they did not p$a-ti-e o$ tea-h the' p$o(essionally. <nlike "eitoku o$ .in,
Bash ,as ne1e$ a $en&a 'aste$ and p$obably ne1e$ -o'posed -lassi-al $en&a. Bo$ these
/en$oku poets, haikai ,as a le&iti'ate poeti- &en$e that no lon&e$ stood in the shado, o( the
-lassi-al $en&a. "ei'on and :an$in haikai depended on the pola$ity bet,een haikai and
-lassi-al $en&a (o$ its -o'i- in1e$sions. By the 1!8%s, ho,e1e$, this oppositional poeti-s had
subsided, allo,in& Bash to i&no$e the t$aditional distin-tions and abso$b aspe-ts o( -lassi-al
$en&a into haikai, pa$ti-ula$ly the notion o( distant links and o1e$tones.
But ,hile Bash d$e, on 'edie1al poeti-s and aestheti-s, he did not atte'pt to i'itate the
-lassi-al $en&a o( .hinkei o$ .&i. *nstead, his poeti-s o( s-ent &$e, di$e-tly out o( his
e0pe$ien-e as a "ei'on and :an$in haikai poet, pa$ti-ula$ly his e0pe$i'entation ,ith the
8hinese style, and $etained the distin-ti1e (eatu$es o( -o'i- linked 1e$se: the use o( non
-lassi-al di-tion, in-ludin& both 1e$na-ula$ and 8hinese, the -onstant sea$-h (o$ ne,ness in
sub2e-t 'atte$ and app$oa-h, and a sense o( hu'o$ Dalbeit 'o$e subdued and i$oni- than that
o( his haikai p$ede-esso$sE. *n -ont$ast to -lassi-al $en&a o( .hinkei and .&i, ,hi-h $e-$eated
the i'a&ina$y ,o$ld o( the Heian -lassi-s ,ith ele&ant di-tion and ,hi-h ,as al'ost
-o'pletely di1o$-ed ($o' e1e$yday @u$o'a-hi li(e, Bash9s haikai d$e, di$e-tly on the
lan&ua&e and sub2e-t 'atte$ o( late se1enteenth-entu$y "oku&a,a 3apan. Bash t$ans-ended
the lon&standin& asso-iation o( -lassi-al $en&a ,ith hi&h DgaE -ultu$e, ele&ant di-tion, and
subtle o1e$tones, and haikai ,ith popula$ DzokuE lan&ua&e and so-iety by seekin& out the
hi&h in the lo,, pa$ti-ula$ly hi&h poeti- o1e$tones and 'edie1al aestheti-sHsu-h as
sa!ishisa, o$ ?uiet, 'editati1e lonelinessHin lo, e1e$yday, -o''onpla-e topi-s and
lan&ua&e. Basho &ene$ated o1e$tones, o$ s-ent, out o( -onte'po$a$y ,o$ds that had $a$ely
been used in poet$y, that ,e$e e1en -onside$ed antipoeti-, and that did not ha1e the hon;i
Dpoeti- essen-esE, o$ (i0ed asso-iations, (ound in -lassi-al di-tion.
THE DEMISE OF DISTANT LINKS
Haikai based on distant links (lou$ished du$in& the /en$oku pe$iod and be-a'e the hall'a$k
o( the Bash style, but it ,as not to last lon&. By the end o( the Ayh e$a D1J1!3!E haikai
linked 1e$se as a ,hole ,as in $apid de-line.
21
"he dan&e$ o( links by s-ent ,as that they
-ould easily be-o'e in-o'p$ehensible, the -onne-tions too distant. 6s the (ollo,in& passa&e
($o' yoraish/ su&&ests, 'any o( Bash9s (ollo,e$s eithe$ 'isunde$stood the o$i&inal intent
o( the soku link o$ (ailed to li1e up to the di((i-ult ideal established by Bash.
.hik said, 6 tsukeku is supposed to -onne-t to the p$e1ious 1e$se. But today the$e a$e 'any
tsukeku that a$e not 2oined to the p$e1ious 1e$se. "he @aste$9s 1e$ses ne1e$ (ailed to -onne-t.
Ayo$ai said, <nless a tsukeku is 2oined to the p$e1ious 1e$se, it is not a tsukeku( "o -onne-t
too -losely, ho,e1e$, is a 1i-e. 7o,adays, poets tend to belie1e that -lose -onne-tions a$e to
be le(t to be&inne$s. 6s a -onse?uen-e, 'any poets -o'pose 1e$ses that do not -onne-t at all.
6($aid o( bein& -$iti-iCed (o$ a la-k o( unde$standin&, 'any in(o$'ed obse$1e$s do not
-$iti-iCe a 1e$se ,hen it (ails to -onne-t to the p$e1ious 1e$se and lau&h ,hen a 1e$se is ,ell
-onne-ted. "his is -ont$a$y to ,hat * lea$ned ($o' the @aste$.
DNB3 51:5%J8E
6s yoraish/ su&&ests, Bash9s (ollo,e$s o(ten 'ade the 'istake o( tu$nin& the link by s-ent
into a supe$soku, ,hi-h lost all -onta-t ,ith the p$e-edin& 1e$se. "his tenden-y, alon& ,ith
the e'e$&en-e o( alte$nati1e p$a-ti-es su-h as maeku+zuke, a t,o1e$se -appin& &a'e, led to
the -ollapse o( e0tended haikai linked 1e$se. "he poeti-s o( s-ent, ho,e1e$, -ontinued to li1e
,ithin the (o$' o( the independent hokkuHthe haiku in the 'ode$n pe$iodH,hi-h
e1entually o1e$shado,ed and $epla-ed -o'i- linked 1e$se.
THE HOKKU
"he toria7ase D-o'binationE, a 2u0taposition o( dispa$ate i'a&es, is one o( the (unda'ental
te-hni?ues used by Bash in his se1enteensyllable hokku and bea$s a di$e-t $elationship to
the nioi poeti-s (ound in his linked 1e$se. "he kire&i, one o( the (o$'al $e?ui$e'ents o( the
hokku, -uts the hokku, se1e$in& the se'anti-, &$a''ati-al, o$ $hyth'i- (lo, o( the 1e$se
and o(ten &ene$atin& the dyna'i-s o( a maeku and a tsukeku ,ithin the bounds o( a se1enteen
syllable hokku, o$ openin& 1e$se. Haikai linked 1e$se $e?ui$es the $eade$ to 'o1e ba-k and
(o$th bet,een the p$e1ious 1e$se and the tsukeku( *n $anz/shi, :oh a$&ues that the hokku
should ha1e this sa'e 'o1e'ent, ,hi-h he $e(e$s to as the spi$it o( &oin& and $etu$nin&.
"he hokku is -ha$a-te$iCed by a spi$it that 'o1es in a spe-i(i- di$e-tion and then -o'es ba-k.
6n e0a'ple o( this type o( poe' is:
ya'aCato ,a
'anCai ,a ososhi
u'e no hana
*n the 'ountain 1illa&e
the 7e, Gea$9s dan-e$s a$e late:
plu' blosso's
6(te$ statin& *n the 'ountain 1illa&e R the 7e, Gea$9s dan-e$s a$e late, the speake$ $e1eals
that the plu' t$ees a$e al$eady in bloo'. "he hokku 'o1es to,a$d the 7e, Gea$9s dan-e$s
and then suddenly tu$ns to the #lu' blosso'sHa 'o1e'ent that ,e -an -all the spi$it o(
&oin& and $etu$nin&. *( the poe' ,e$e si'ply, *n the 'ountain 1illa&e R the 7e, Gea$9s
dan-e$s a$e late, it ,ould ha1e no 'o$e (o$-e than an added 1e$se in a linked 1e$se se?uen-e.
"he @aste$ said, >ne should unde$stand that a hokku -o'bines t,o o$ 'o$e ele'ents in a
sin&le 1e$se. "his is spelled out in a -e$tain haikai handbook. Bindin& a &ood -o'bination
o( ele'ents ,ithin the -i$-u'(e$en-e o( the sa'e topi- is $a$e+ and e1en i( one does dis-o1e$
so'ethin&, it is usually old(ashioned.
DNB3 51.592E
"he manzai a$e the -ostu'ed pe$(o$'e$s ,ho 'ake an annual 1isit to the 1illa&e to pe$(o$'
son&s and dan-es in -eleb$ation o( the 7e, Gea$ and as a p$aye$ (o$ lon& li(e. "he 7e, Gea$
-o'es at the be&innin& o( sp$in&, ,hen the plu' blosso's appea$, but no lite$a$y o$ so-ial
-on1ention 2oins the manzai and the plu' blosso's. :oh obse$1es that i( one si'ply ,$ites:
*n the 'ountain 1illa&e R the 7e, Gea$9s dan-e$s a$e late, the 1e$se ,ould be the (un-tional
e?ui1alent o( an isolated 1e$se in a haikai se?uen-e. *( one adds #lu' blosso's, ho,e1e$,
the 1e$se assu'es the dyna'i-s o( a p$ope$ hokku. "o bo$$o, :oh9s 'etapho$, the $eade$
(i$st &oes to a pa$ti-ula$ i'a&e Dthe late a$$i1al o( the manzaiE, e0plo$es its -onnotations,
and then $etu$ns by anothe$ $oute Dthe plu' blosso'sE, seekin& to (ind a -o''on path, o$
sha$ed -onnotations, bet,een the t,o pa$ts. "he toria7ase thus p$odu-es the e((e-t o( the
maeku and tsukeku ,ithin the -onte0t o( a sin&le 1e$se. Bash also obse$1es that the t,o pa$ts
o( the toria7ase should not (all ,ithin the sphe$e o( (i0ed asso-iations DyoriaiE possessed by a
topi- in the -lassi-al t$adition. 6 toria7ase 'ay take up a popula$ topi- ($o' the -lassi-al
t$adition Dsu-h as plu' blosso'sE but the othe$ pa$t Din this -ase, the manzaiE should be
d$a,n ($o' outside the sphe$e o( -on1entional o1e$tones so as to -$eate a no1el, non
-anoni-al link o$ asso-iation. "hou&h neithe$ Bash no$ his dis-iples used the ,o$d nioi to
des-$ibe the st$u-tu$e o( the hokku, :oh9s -o''ents on the p$o-ess o( &oin& and $etu$nin&
su&&est that the Bash s-hool -on-ei1ed o( the hokku, o$ at least one type o( hokku, in a
si'ila$ (ashion.
*n "etaphor an* .eality, #hilip 4heel,$i&ht 'akes a distin-tion bet,een t,o (unda'ental
kinds o( 'etapho$s, ,hi-h he -alls epipho$ and diapho$. "he ,o$d epipho$ -o'es ($o'
6$istotle, ,ho a$&ues in 5oeti1s that 'etapho$ is the t$ans(e$en-e Depipho$aE o( a na'e to
so'e othe$ ob2e-t. *n 4heel,$i&ht9s ,o$ds, the essential 'a$k o( ephipho$ is to e0p$ess a
si'ila$ity bet,een so'ethin& $elati1ely ,ell kno,n o$ -on-$etely kno,n Dthe se'anti-
1ehi-leE and so'ethin& ,hi-h, althou&h o( &$eate$ ,o$th o$ i'po$tan-e, is less kno,n o$
'o$e obs-u$ely kno,n Dthe se'anti- teno$E.
22
By -ont$ast, the diapho$ p$odu-es ne,
'eanin& by 2u0taposition alone. 4heel,$i&ht p$o1ides a -o'i- e0a'ple:
@y -ount$y 9tis o( thee
.,eet land o( libe$ty
Hi&&ledypi&&ledly 'y bla-k hen.
"he poet9s intention he$e is ob1iously to 'ake an antipat$ioti- utte$an-e, but the$e is nothin&
unpat$ioti- about any o( the lines taken by the'sel1es. *nstead, it is the -o'bination o( pa$ts
Hthe 2u0taposition aloneHthat -$eates the antipat$ioti- senti'ent. ;C$a #ound9s *n a .tation
o( the @et$o, ,hi-h ,as in(luen-ed by 3apanese haiku, is a 'o$e se$ious e0a'ple.
"he appa$ition o( these (a-es in the -$o,d+
#etals on a ,et, bla-k bou&h.
6s 4heel,$i&ht sho,s, 'etapho$s a$e $a$ely, i( e1e$, pu$ely epipho$ o$ diapho$ but $athe$ a
-o'bination o( the t,o. #ound9s poe', (o$ e0a'ple, su&&ests, in epipho$i- (ashion, a
si'ila$ity bet,een the petals and the (a-es in the -$o,d. Bash9s toria7ase, like his links by
s-ent, tended to be hi&hly diapho$i-, a1oidin& the di$e-t -o'pa$ison o( epipho$ and the
inhe$ently hie$a$-hi-al $elationship bet,een the teno$ and the 1ehi-le. *nstead, he $elied on the
-$eati1e po,e$ o( 2u0taposition o$ 1e$bal 'onta&e, ,hi-h -ould su&&est 'utual $ese'blan-es
o$ e'otional -on&$uen-e.
"he (ollo,in& poe' ,as ,$itten by Bash in 1!8%.
ka$eeda ni
ka$asu no to'a$ita$u ya
aki no ku$e
>n a ,ithe$ed b$an-h,
-$o,s ha1e -o'e to $estH
e1enin& in autu'n
@ode$n $eade$s tend to $ead this poe' 'etony'i-ally, as a sin&le -ontinuous s-ene, in ,hi-h
an autu'n e1enin&Ho$ late autu'n Daki no kure -an be $ead both ,aysEH(o$'s the te'po$al
and spatial settin& (o$ the -$o,s Done -$o,=E that ha1e -o'e to $est on a ,ithe$ed b$an-h.
Bash9s -onte'po$a$ies, ho,e1e$, appa$ently $ead this poe' as a toria7ase, a -o'bination
poe' di1ided by the -uttin& ,o$d ya, in ,hi-h the t,o pa$tsHthe -$o,s on the ,ithe$ed
b$an-h and the autu'n e1enin&H$e1e$be$ate 'etapho$i-ally a&ainst ea-h othe$. *n
Hakusensh0 D1!98E, a -olle-tion o( Bash9s hokku, the poe' is p$e-eded by the title, >n
;1enin& in 6utu'n DAki no kure to 7aE, ,hi-h 'akes the 1e$se, spe-i(i-ally the (i$st pa$t, a
$esponse to a topi- (ound in -lassi-al ,aka sin-e the ti'e o( Bu2i,a$a no .hunCei Dd. 12%KE
and -losely asso-iated ,ith 'elan-holy Dmono no a7areE and loneliness Dsa!iE. 8$o,s
pe$-hed on a ,ithe$ed b$an-h, on the othe$ hand, ,as a popula$ sub2e-t in 'edie1al ink
paintin&s Dsui!okugaE and ,as asso-iated ,ith 8hinese poet$y and .hinkei9s 'edie1al poeti-s
o( yase Dthe e'a-iatedE and hie Dthe ($oCenE. He$e the t,o topi-s, one -lassi-al and
anothe$ 'edie1al, a$e linked by s-ent, by o1e$lappin& -onnotations, to -$eate a diapho$i-
'etapho$.
yoraish/ $e1eals ho, toria7ase ,e$e so'eti'es -$eated.
23
.hi'o&y ya
yuki tsu'u ue no
yo$u no a'e
.outhe$n AyotoH
>1e$ the ,hite sno, &ently
(alls the e1enin& $ainD2KE
*nitially, the (i$st (i1e syllables ,e$e 'issin&. ;1e$yone, be&innin& ,ith Bash, t$ied his hand
at -appin& the 1e$se, and the @aste$ (inally de-ided on this 1e$sion. "hou&h Bon-h
a-?uies-ed, he ,as still not -on1in-ed. *n $esponse, the @aste$ said, Bon-h, -ap this 1e$se
and $e1eal you$ talent. *( you -an (ind a bette$ alte$nati1e, * ,ill ne1e$ dis-uss haikai a&ain.
DNB3 51.K3K5E
*t is te'ptin& to $ead Bash9s hokku 'i'eti-ally, as a depi-tion o( a pa$ti-ula$ s-ene. "he
-o'positional p$o-ess $e1eals, ho,e1e$, that the botto' pa$t o( the poe' does not ne-essa$ily
des-$ibe .outhe$n Ayoto D.hi'o&yE, the a$ea south o( .an2 D"hi$d 4a$dE. *nstead, the
$elationship bet,een the t,o pa$tsH>1e$ the ,hite sno, &ently R Balls the e1enin& $ain and
.outhe$n AyotoH$ese'bles a nioi link. "he i'a&e o( $ain ?uietly (allin& on a ,hite blanket
o( sno, -$eates an at'osphe$e o( ,a$'th. "he sa'e is t$ue o( the pla-e na'e. *n -ont$ast to
the a$isto-$ati-, no$the$n hal( o( Ayoto, .outhe$n Ayoto ,as plebeian, o--upied by a bustlin&
so-iety o( 'iddle and lo,e$-lass 'e$-hants.
"he (ollo,in& poe', -o'posed by Bash in 1!88 and in-luded in $arashina kik/ D.e1or* of
a 2ourney to $arashinaE, is also a toria7ase(
'i ni shi'ite
daikon ka$ashi
aki no kaCe
#enet$atin& deep,
the sha$p taste o( ,hite $adishH
,inds o( autu'n
"he speake$ tastes a *aikon, a ,hite $adish, ,hi-h is so sha$p and spi-y that it see's to pie$-e
the body. "he (i$st (i1e syllables, #enet$atin& deep Dmi ni shimiteE, a$e $elated not only to
"he sha$p taste o( ,hite $adish D*aikon karashiE but to "he ,inds o( autu'n Daki no
kazeE, ,hi-h also penet$ate the body. "he t,o pa$ts o( a toria7ase inte$a-t in the 'anne$ o( a
hi!iki link, in ,hi-h the e'otional and senso$y intensity o( the p$e1ious 1e$se $e1e$be$ates
in the added 1e$se. "he ,hiteness o( the *aikon is also e-hoed in "he ,inds o( autu'n,
t$aditionally $e(e$$ed to as -olo$less ,ind Diro naki kazeE. "he (ati&ued 'etapho$ o(
autu'n ,ind, a -li-hW ($o' the -lassi-al, hi&h DgaE t$adition, is he$e $eene$&iCed by the
1is-e$al, unusual 'etapho$ o( the sha$p taste o( $adish D*aikon karashiE, a haigon ($o'
e1e$yday, lo, DzokuE -ultu$e. "he hete$o&eneous i'a&es -o'bine to (o$' a la$&e$ 'etapho$
(o$ the ha$dship and bitte$ness o( t$a1el.
"he in(luen-e o( nioi poeti-s is also appa$ent in the (ollo,in& hokku, -o'posed by Bash in
1!9K.
kiku no ka ya
7a$a ni ,a (u$uki
hotoketa-hi
8h$ysanthe'u' s-entH
in old 7a$a the an-ient
statues o( buddha
"he -h$ysanthe'u' DkikuE, ,hi-h bloo's a'idst the b$i&ht lea1es o( autu'n, possesses an
old(ashioned but $e(ined ($a&$an-e. "he di&ni(ied, ele&ant statues o( buddhas that (ill the
te'ples o( the old -apital o( 7a$a ha1e no 'etony'i- -onne-tion to the s-ent o(
-h$ysanthe'u'sHthe statues a$e not su$$ounded by (lo,e$sHand yet the o1e$tones o( the
t,o pa$ts (use: both possess anti?ue and ele&ant at'osphe$es. "he t,o pa$ts o( the toria7ase
Hthe ($a&$an-e o( the -h$ysanthe'u' and the an-ient buddhasHa$e not $elated by lite$a$y o$
le0i-al asso-iation Das in a mono+zukeE o$ by d$a'ati- situation Das in a kokoro+zukeE but
$athe$ by non-anoni-al -onnotations.
6 'o$e -o'ple0 e0a'ple o( nioi poeti-s is the (ollo,in& hokku, ,hi-h appea$s in Oku no
hosomi1hi D2ourney into the Deep NorthE.
hitotsu ya ni
yQ2o 'o neta$i
ha&i to tsuki
*n the sa'e lod&in&
sleep also ,o'en o( leisu$eH
bush -lo1e$ and 'oon
"he poe' 2u0taposes t,o toria7ase( *n the (i$st, the speake$, on a pil&$i'a&e th$ou&h the
:eep 7o$th, une0pe-tedly (inds hi'sel( lod&in& ,ith t,o p$ostitutes. "he se-ond toria7ase
-o'bines t,o t$aditionally un$elated natu$al i'a&es: 'oon and bush -lo1e$. .o'e $eade$s
inte$p$et the last (i1e syllables 'i'eti-ally, as des-$ibin& an a-tual s-ene be(o$e the speake$: a
b$i&ht 'oon shinin& do,n on the dainty bush -lo1e$. >the$s alle&o$i-ally e?uate the speake$
,ith the 'oon Dt$aditionally asso-iated ,ith othe$,o$ldliness and enli&hten'entE and the
,o'en o( leisu$e Dy0&oE ,ith the bush -lo1e$ DhagiE. "his kind o( $eadin&, ho,e1e$, -asts the
speake$ in the unlikely $ole o( a supe$io$ bein& ,ho looks do,n, ,ith 'o$al -ondes-ension,
upon the p$ostitutes. "he poe' is bette$ unde$stood in te$'s o( nioi, in ,hi-h the 'ood
-$eated by the une0pe-ted 'eetin& o( the pil&$i' and the ,o'en e-hoes that -$eated by the
hete$o&eneous natu$al i'a&es.
*n so'e instan-es, the t,o pa$ts o( the toria7ase a$e -losely $elated by settin& o$ lite$a$y
-on1ention but stand at enou&h distan-e to -$eate a nioi link, as in the (ollo,in& hokku,
-o'posed by Bash in 1!91 and in-luded in $arumino:
>n a pi-tu$e
ya'abuki ya
<2i no hoi$o no
niou toki
Gello, 'ountain $osesH
,hen the o1ens at <2i &i1e o((
the ($a&$an-e o( tea lea1es
"he t,o pa$ts o( the toria7ase a$e -losely -onne-ted: <2i, a 1illa&e south o( Ayoto, ,as noted
(o$ both its tea and its yama!uki Dyello, 'ountain $osesE. *n sp$in&, ,hen the yama!uki
bloo', the ($eshly pi-ked tea lea1es ,e$e pla-ed in o1ens to d$y, thus -$eatin& a 'e'o$able
a$o'a. "he headnote su&&ests that as the speake$ &aCes at the yama!uki in the paintin&, he is
$e'inded o( <2i and the a$o'a o( tea lea1es in the sp$in&. 6n e1en 'o$e p$o(ound -onne-tion
-an be (ound, ho,e1e$, at the le1el o( a 'utual, diapho$i- 'etapho$: the &lo, o( the yello,
(lo,e$s o( the yama!uki Dke$$iaE synestheti-ally $ese'bles the ,a$' ($a&$an-e o( the ne, tea
lea1es bein& d$ied and $oasted at <2i and 1i-e 1e$sa.
6nothe$ st$ikin& instan-e o( nioi poeti-s o--u$s in the (ollo,in& hokku, -o'posed by Bash
in 1!89.
>n an e1enin& in 'idautu'n, * stopped at "su$u&a. .in-e it ,as $ainin&, * ,$ote:
tsuki iCuko
kane ,a shiCu'ite
u'i no soko
4he$e is the 'oon=
"he bell has sunk
to the o-ean botto'.
6--o$din& to the headnote, the 'oon is the 'idautu'n ha$1est 'oon DmeigetsuE, ,hi-h
appea$s on the 15th o( the ;i&hth @onth and ,hi-h ,as t$aditionally ad'i$ed and lon&
a,aited. *n a stan-e $e'inis-ent o( the -lassi-al t$adition, the speake$ lon&s (o$ a 'oon
obs-u$ed by $ain and -louds. "he poet see's to ha1e hea$d about a lo-al bell that has sunken
to a depth ,he$e it -an no lon&e$ be $e-o1e$ed. "he 'oon does notHas an alle&o$i-al $eadin&
,ould su&&estHhide behind the -louds in the sa'e ,ay that the bell lies hidden at the botto'
o( the sea. *nstead, the t,o pa$ts be-o'e 'utual, diapho$i- 'etapho$s that inte$se-t on the
sha$ed -onnotation o( $e&$et. "he (a'ilia$ topos o( lon&in& (o$ the hidden 'oon is $e1italiCed
by an unusual desi$e: nostal&ia (o$ a bell that -an no lon&e$ be hea$d.
"he notion o( nioi, o( diapho$i- 'etapho$, also in(o$'s the $elationship bet,een Bash9s
independent hokku and thei$ p$ose headnotes DmaegakiE. *n Haikai mon*/ D1!9KE, Ayo$iku,
one o( Bash9s dis-iples, states:
*n the past and in $e-ent yea$s, headnotes ha1e been used to e0pli-ate hokku. "he (un-tion o(
a t$ue headnote is di((e$ent. 6 poe' that depends on the e0pli-ation o( a headnote is not a
&ood poe'. *nstead, the headnote should add li&ht to the poe'.
25
Ayo$iku then &oes on to &i1e the (ollo,in& headnote D,hi-h Bash added ,hen he inse$ted
the hokku in $aruminoE as an e0a'ple o( ho, a headnote should add li&ht to a poe'.
<pon pa$tin& ($o' a p$iest
-hi$u toki no
koko$oyasusa ya
keshi no hana
4hen they s-atte$,
they &o ?uietly, in pea-eS
the poppy (lo,e$s
"he poe' and the headnote 'ay be inte$p$eted alle&o$i-ally, ,ith the poppy (lo,e$s
$ep$esentin& the p$iest, o$ $ead like a nioi link in ,hi-h the ?uiet s-atte$in& o( the deli-ate
poppy petals e-hoes the 'ood o( pa$tin& ($o' a p$iest, ,ho' one ,ill p$obably ne1e$ see
a&ain. B$ie( maegaki appea$ in ea$lie$ -olle-tions o( hokku, but (o$ the 'ost pa$t they (un-tion
'etony'i-ally, si'ply indi-atin& the ti'e, the pla-e, and the o--asion (o$ the poe'.
2!
*n
Bash s-hool antholo&ies, by -ont$ast, the headnotes appea$ ,ith &$eat ($e?uen-y, a$e
so'eti'es o( -onside$able len&th, and o(ten -$eate, as this one does, a 'etapho$i-al
$esonan-e.
"he sa'e is e1en 'o$e t$ue o( Bash9s hai!un p$ose 1i&nettes and thei$ poet$y. "he (ollo,in&
passa&e -o'es at the end o( %en&0anki DA11ount of An <nreal D7elling, 1!9%E, &ene$ally
-onside$ed to be Bash9s (inest hai!un(
"his is not to say that * sou&ht to es-ape into the 'ountains and (ields out o( a lo1e (o$ ?uiet
and loneliness. * a' si'ply like so'eone ,ho, &$o,in& ill, (inds it ti$eso'e to be ,ith people
and tu$ns his ba-k on the ,o$ld. 4hen * look ba-k o1e$ the yea$s, * a' pain(ully $e'inded o(
'y sho$t-o'in&s. * on-e -o1eted publi- o((i-e ,ith a tenu$e o( land. 6t anothe$ ti'e, *
de-ided that * should ente$ the p$iesthood. But desi$in& to -aptu$e the beauty o( the bi$ds and
beasts, * ,as s,ept a,ay by the (loatin& -louds and d$i(tin& ,inds. Bo$ a ,hile that alone ,as
'y li(e. 7o,, at the end, * -lin&, ,ithout talent o$ ability, to this one th$ead: the a$t o( poet$y.
#o 8hui, it is said, e0hausted his (i1e o$&ans -o'posin& poet$y+ and "u Bu &$e, lean doin&
the sa'e. 7eedless to say, * ha1e none o( thei$ ,isdo' o$ poeti- talent. But is the$e anyone
,ho does not li1e in an illuso$y d,ellin&= 4ith those thou&hts, * lie do,n.
'aCu tano'u
shii no ki 'o a$i
natsu koda-hi
Bo$ no,, * ,ill tu$n
to the la$&e oak t$eeH
a &$o1e in su''e$
DNB3 K1.5%KE
6s a kind o( epilo&ue, the hokku su&&ests that a shii Dla$&e oakE t$ee stands beside Bash9s
that-hed hut and that Bash ,ill tu$n to this la$&e t$ee (o$ te'po$a$y shelte$ ($o' the hot sun.
4hen $ead in the -onte0t o( the (ollo,in& ,aka by .ai&y D$ankash0, 7o. 1K%1E, ho,e1e$,
the speake$ is a bi$d -o'in& to $est on a la$&e oak t$ee.
na$abi ite
to'o o hana$enu
ko&a$a'e no
ne&u$a ni tano'u
shii no shitaeda
6l,ays side by side,
ne1e$ pa$tin& ($o' its 'ate,
the s'all spa$$o, seeks
out a nest in the lo,e$
b$an-hes o( the oak t$ee.
*n the (ashion o( s-ent link, the 'ood o( ,ea$iness e0p$essed by Bash in the p$ose is
e-hoed in the i'a&e o( the bi$d Da sy'bol o( the pe$petual t$a1ele$E -o'in& to $est in a &$o1e
o( t$ees. "he p$ose does not, like that o( uta+monogatari Dpoe'talesE o$ othe$ Heian p$ose
(i-tion, elabo$ate on the -i$-u'stan-es (o$ the -o'position o( the poe'. 7o$ does it e0plain
the 'eanin& o$ si&ni(i-an-e o( the poe'. *nstead, the p$ose and the hokku stand apa$t as
sepa$ate but 'etapho$i-ally $elated te0ts, (o$-in& the $eade$ to leap ($o' the hai!un to the
hokku and ba-k.
"he poeti-s o( s-ent also in(o$'s the $elationship bet,een the des-$ipti1e p$ose and the
e'bedded hokku in Bash9s t$a1el lite$atu$e. "he (ollo,in& passa&e, (o$ e0a'ple, appea$s
to,a$d the be&innin& o( Oku no hosomi1hi(
>n the (i$st o( the Bou$th @onth, ,e 1isited the holy 'ountain at 7ikk. B$o' the distant
past, this holy 'ountain had been -alled Buta$a @ountain. 4hen the /$eat @aste$ AQkai built
a te'ple he$e, the na'e o( the holy 'ountain ,as -han&ed to 7ikk, 5i&ht o( the .un.
#e$haps the /$eat @aste$ had been able to look a thousand yea$s into the (utu$e. 7o, its holy
li&ht shines b$i&htly o1e$ the enti$e land, and its bene1olen-e e0tends to the 'ost $e'ote
-o$ne$s o( the -ount$y. "he d,ellin&s o( the (ou$ -lassesHthe ,a$$io$, the (a$'e$, the a$tisan,
and 'e$-hantHa$e sa(e, and the ,o$ld is at pea-e. * ha1e 'o$e to ,$ite, but out o( $espe-t, *
,ill stop he$e.
a$a tto
aoba ,akaba no
hi no hika$i
6,einspi$in&S
on da$k &$een, li&ht &$een lea1es,
the li&ht o( the sun
DNB3 K1.3K5E
"he initial 1e$sion o( the hokku, $e-o$ded by Bash9s t$a1el -o'panion .o$a, is:
a$a tto
ko no shitaya'i 'o
hi no hika$i
6,einspi$in&S
Rea-hin& e1en the da$k t$ee base,
the li&ht o( the sun
"he ea$lie$ 1e$sion, in ,hi-h the li&ht o( the sun sy'boli-ally $ea-hes e1en the da$kness
beneath the t$ees, is a di$e-t e0tension o( the p$ose, payin& t$ibute to the deity at the "sh&Q
.h$ine and elabo$atin& on the -ontent DkokoroE o( the p$e1ious passa&e. "he (inal 1e$sion
(ound in Oku no hosomi1hi, by -ont$ast, e-hoes the p$ose passa&e ($o' a distan-e, by s-ent:
the si&ht o( the $ays o( the su''e$ sun pou$in& do,n on the da$k e1e$&$een lea1es Dao!aE and
the li&ht de-iduous lea1es D7aka!aE (ills the speake$ ,ith the kind o( a,e and $e1e$en-e that
deities inspi$e.
"he $elationship bet,een the p$ose and the poet$y in Oku no hosomi1hi also applies to the
p$ose itsel(. *( the e0tended -lauses o( the (ollo,in& passa&e ,e$e pla-ed pa$allel to ea-h
othe$, they ,ould $ese'ble a haikai linked 1e$se se?uen-e: 'any o( the -lauses and senten-es
a$e -losely tied by i'a&e$y o$ na$$ati1e synta0, but othe$s stand at a &$eate$ distan-e,
-onne-ted only by -onnotation o$ e'otional -on&$uen-e.
2J
"he passa&e i''ediately (ollo,s
the (a'ous .tone @onu'ent D'su!o no ishi!umiE se-tion.
B$o' the$e * 1isited the 3e,eled Ri1e$ o( 7oda and the Ro-kinthe>((in&. 6t .ueno'atsu
@ountain, they ha1e built a te'ple -alled 5ast #ine @ountain. 6nd yet all that is 1isible
bet,een the b$an-hes o( the pines a$e &$a1es+ the $ealiCation that those ,ho, -$ossin& thei$
,in&s and inte$t,inin& thei$ b$an-hes, had pled&ed ete$nal lo1e ,e$e ulti'ately destined to
this (ate (illed 'e ,ith so$$o,+ * hea$d the tollin& o( the e1enin& te'ple bells at .hio&a'a
Bay.
DNB3 K1:359E
"he -lauses 'o1e pa$ata-ti-ally ($o' one sub2e-t o$ pla-e to anothe$H3e,eled Ri1e$ o( 7oda
to .ueno'atsu @ountain to .hio&a'a BayH,ithout any o1e$t e0planation o$ -onne-tin&
ph$ases. *ndeed, the &ap in the thi$d senten-e bet,een the -lause that ends ,ith this (ate
(illed 'e ,ith so$$o, and * hea$d the tollin& o( the e1enin& te'ple bells at .hio&a'a Bay
'ay lea1e so'e $eade$s ,onde$in& i( a senten-e is 'issin&. 6l'ost e1e$y e0tended -lause,
ho,e1e$, has -onnotations that 'e$&e ,ith those in the p$e1ious ph$ase. *n the se-ond
senten-e, .ueno'atsu @ountain, a (a'ous utamakura Dpoeti- pla-eE, $e'inds the na$$ato$
Dand, it is hoped, the $eade$E o( the (ollo,in& poe' ($o' the okinsh0 D7o. 1%93E.
ki'i o okite
adashi koko$o o
,a&a 'otaba
sue no 'atsuya'a
na'i 'o koena'u
*( 'y hea$t ,e$e e1e$
to tu$n (i-kle and lea1e you
behind (o$ anothe$,
the ,a1es ,ould -$oss o1e$
.ueno'atsu @ountain.
"he asso-iation o( .ueno'atsu @ountain ,ith pled&es o( ete$nal lo1e leads to the ne0t
-lause, ,hi-h la'ents the ulti'ate (ate o( all lo1e$s. "hat so$$o,, in tu$n, $e'inds the na$$ato$
o( the loneliness o( the e1enin& te'ple bells Da sy'bol o( the i'pe$'anen-e o( all thin&sE at
.hio&a'a Bay, an utamakura 'ade (a'ous by poe's su-h as the (ollo,in& by Ai no
"su$ayuki Dokinsh0, 7o. 852E.
ki'i 'asade
kebu$i taenishi
shio&a'a no
u$a sabishiku 'o
'ie,ata$u kana
.hio&a'a Bay,
,he$e the s'oke has died a,ay
and you a$e no, &oneH
4ith a sense o( loneliness,
* &aCe a-$oss the ,ate$s.
"hose $eade$s ,ith an inti'ate &eo&$aphi- kno,led&e o( the :eep 7o$th 'ay kno, that .ue
no'atsu @ountain and .hio&a'a Bay a$e ad2a-ent to one anothe$, but (o$ 'ost $eade$s the
only b$id&e bet,een the -lause about .ueno'atsu @ountain and the last -lause on
.hio&a'a is the sha$ed -onnotations o( solitude and i'pe$'anen-e.
"he aestheti-s o( nioi is by no 'eans li'ited to Bash. *t -an be (ound in a 1a$iety o(
t$aditional 3apanese a$ts, ($o' lands-ape &a$dens to a$-hite-tu$e to (lo,e$ a$$an&e'ent, and
(o$'s a pa$t o( the la$&e$ 'edie1al aestheti-s o( $esonan-es. "he notion o( nioi, (o$ e0a'ple,
is -$iti-al to unde$standin& gasan, poet$y added to paintin&s, a p$a-ti-e that has a lon&
t$adition in 8hina and 3apan. 3apanese !un&in Dlite$atiE, ,ho ,e$e ,ell 1e$sed in 8hinese
lite$atu$e and a$ts, painted on topi-s (ound in 8hinese poet$y. *n these instan-es, the
$elationship bet,een the 8hinese poe' and the paintin& tended to $ese'ble that o( kokoro+
zuke, in ,hi-h the tsukeku di$e-tly elabo$ated on the -ontent o( the maeku( 4hen a ,aka o$
hokku ,as pla-ed on a paintin&, ho,e1e$, the $elationship o(ten $ese'bled that o( the nioi
link.
28
Haikai poets su-h as Bash and Gosa Buson D1J1!83E ,o$ked in both &en$es. *n 'any
instan-es, the poe' and the paintin& -$eated a 'onta&e e((e-t, in ,hi-h the poet$y and the
paintin& ,e$e 2oined, not by -ontent, but by sha$ed o1e$tones, ,hi-h o(ten $esulted in
;isenstein9s e'otional dyna'iCation.
Notes
1. *2i-hi "etsuo, >'ote 6ki$a, and Au$iya'a Rii-hi, eds., .engaronsh0, N/gakuronsh0,
Haironsh0, NB3 51.5%3. :oh9s $anz/shi 'akes a si'ila$ obse$1ation: "he @aste$
said, Haikai should be based on links by s-ent, $e1e$be$ation, shado,, t$ans(e$en-e,
o$ -on2e-tu$e, on links that e'e$&e ($o' no pa$ti-ula$ (o$'.
2. By Ayokusui and Bash. B$o' a kasen?i no moto ni shiru mo namasu mo sakura
kanaH-o'posed in /en$oku 3 D1!9%E and late$ antholo&iCed in Hisago(
3. By Hai$iki and Bash. B$o' a haikai se?uen-eHArearete sue 7a umi yuku no7aki
kanaH-o'posed in /en$oku J D1!9KE and $e-o$ded in y/ no mukashi(
K. Ro'an 3akobson, ",o 6spe-ts o( 5an&ua&e: @etapho$ and @etony'y, in Ne$non
/$as, ed., 6uropean ,iterary 'heory an* 5ra1ti1e D7e, Go$k: :ell, 19J3E, 1192J.
5. By .hi&ena$i and RyQ&en, in a se?uen-e in Izayoi(
!. By .o$a and Bash, in a kasen?Arigataya yuki o kaorasu kaze no otoH-o'posed in
/en$oku 2 D1!89E, du$in& Bash9s 2ou$ney to the :eep 7o$th.
J. 8o'posed by Bash and Aitae. Bo$ te0t and -o''enta$y o( the $e1ised 1e$sion, a
kasen -alled <ma karite, -o'posed in 1!89 D/en$oku 2E, see 6be @asa'i, Bash/
renku sh/, J D@ei2i shoin, 1981E, KK!KJ.
8. By Gaba and Bash. "he se1enth and ei&hth 1e$ses o( Furiuri no gan a7are nari
e!isu k/, a kasen in $umi*a7ara(
9. .e$&ei ;isenstein, Film Forum 6ssays in Film 'heory an* Film $ense, t$ans. 3ay
5eyda, 6 @e$idian Book D8le1elandR7e, Go$k: "he 4o$ld #ublishin& 8o'pany,
195JE, K9, 5J.
1%. 7ose "o'o2i, .enku no gei&utsu no seikaku DAadoka,a shoten, 19J%E, 192%.
11. .hinkei di1ides $en&a links into t,o b$oad -ate&o$ies: yoriai, (i0ed le0i-al
asso-iations, and kokoro+zuke, ,hi-h abandons the -on(i&u$ation and ,o$ds o( the
p$e1ious 1e$se and links only by -ontent. okoro+zuke is di1ided yet (u$the$ into
-lose links DshinkuE and distant links DsokuE. .hinkei $e&a$ds these th$ee types o(
linksHyoriai, shinku, and sokuHto be p$o&$essi1ely 'o$e di((i-ult, ,ith the yoriai
suited (o$ the be&inne$ and the soku (o$ the 'aste$.
12. Bo$ pa$tial te0t and -o''enta$y, see *nui Hi$oyuki and .hi$aishi "eiC, .enku e no
sh/tai, GQhikaku sensho DGQhikaku, 198%E, 12!K3.
13. 'eimon haikai sh0 II, Aoten haibun&aku taikei, 2 D.hQeisha, 19J1E, K2%.
1K. 'eimon haikai sh0 II, 391.
15. Aaneko Ain2i$, "e$uoka Gasutaka, 7aka'u$a .hun2, eds., .enga haikai sh0, NB3
32.283. Oriyaru is a hai&on 'eanin& to $etu$n.
1!. "he (ollo,in& analysis o( nuke links is indebted to >&ata "suto'u, 7uke(Q no
haikai, Haikaishi .onk0 DL(Qsha, 19JJE, 1%8129.
1J. Aatsu'ine .hinpQ, Danrin haikai sh0 &/, Haisho taikei, 15 D.hun2Qsha, 1929E, 32.
18. Danrin haikai sh0 I, Aoten haibun&aku taikei, 3 D.hQeisha, 19J1E, 3!1.
19. 7ose "o'o2i, Bash no hai$on, in his Haikai kenky0, 7ose "o'o2i -hosaku shQ, 9
D.hibunkaku shuppan, 1985E, 1K2.
2%. *nui Hi$oyuki, "sukeai no sh-h, in his oto!a no u1hi naru Bash/ D@i$aisha,
1981E, 333J2, and .hi$aishi "eiC, .hinku soku no $on, in Bash/ II, 7ihon koten
bun&aku kenkyQ shi$y ssho, DGQseid, 19JJE, 11%.
21. *nui and .hi$aishi, .enku e no sh/tai, 3J38.
22. #hilip 4heel,$i&ht, "etaphor an* .eality DBloo'in&ton: *ndiana <ni1e$sity #$ess,
19!2E, 9.
23. "he sa'e episode appea$s in Haikai mon*/ D3itoku hatsu'ei benE. $h/mon hairon
hai!un sh0, Aoten haikai bun&aku taikei, 1% D.hQeisha, 19J%E, 1KJ.
2K. By Bon-h. "he poe' appea$s in $arumino(
25. Bo$ te0t and -o''enta$y, see @ina'i .hin9i-hi, ed., $/shaku yoriku no hairon
DAaCa'a shoin, 19J9E, 2!K!5.
2!. GokoCa,a .abu$, .h no &ei2utsu, in his Haikai no kenky0: Bash/ o 1h0shin ni
DAadoka,a shoten, 19!JE, 9.
2J. 6sada Ien2i$ and Gayoshi Aan9i-hi, Bash/: oten to sono &i*ai D.an9i-hi shob,
19!2E, 18J.
28. GokoCa,a .abu$, 7ioi, utsu$i, hibiki, in his Haikai no kenky0: Bash/ o 1h0shin ni,
1%8.
>n a Ba$e B$an-h: Bash and the Haikai #$o(ession
by .te1en :. 8a$te$
in: Ameri1an Oriental $o1iety, Nol. 11J, 7o. 1, 3anua$y@a$-h 199J, pp. 5J!9.
"o @a$&a$et V the station o( Ain&9s 8$oss had al,ays su&&ested *n(inity.
;. @. Bo$ste$, Ho7ar*;s 6n*
@any thin&s about the -a$ee$ o( @atsuo Bash see' $e'a$kable. 7ot the least o( these is his
de-ision in the ,inte$ o( 1!8%, at the a&e o( only thi$tyse1en, to abandon his lite$a$y p$a-ti-e
in 7ihonbashi and 'o1e a-$oss the $i1e$ to Buka&a,a, lite$ally optin& out o( haikai hi&h
so-iety in (a1o$ o( a li(e both less -onspi-uous and less 'ate$ially p$ospe$ous. But should ,e
take that a-t t$uly to si&ni(y Bash9s $ealiCation that, in the ,o$ds o( <eda @akoto, (a'e ,as
not ,hat he ,antedHespe-ially ,hen ,e $e'e'be$ that (a'e ,as ,hat he &ot=
1
*n this
pape$ * ,ill atte'pt to think th$ou&h this ?uestion by e0a'inin& Bash not 'e$ely as a poet,
in the ine1itably $o'anti- sense o( that appellation, but as a haikai p$o(essional.
2
6'on& othe$
thin&s, this 'ay help us to unde$stand so'e o( his a-ti1itiesHpa$ti-ula$ly his a-ti1ities a(te$
1!8%Hin ne, and inte$estin& ,ays.
But ,hat does it 'ean to see Bash as a p$o(essional= 6 use(ul app$oa-h to that ?uestion 'ay
be to look at the -a$ee$s o( t,o ea$lie$ poets, both o( ,ho' p$e(i&u$e Bash in so'e ,ays.
"he (i$st, .htetsu D13811K59E, had no di$e-t, do-u'entable in(luen-e on Bash9s ,o$k,
,hile the se-ond, *n .&i D1K2115%2E, ,as -lea$ly a 'odel to ,ho' Bash looked (o$
inst$u-tion.
3
Both, ho,e1e$, a((e-ted Bash in the ,ay thei$ o,n p$o(essional a-ts a((e-ted
subse?uent lite$a$y institutions. @o$e than in the te0ts ,e no, $e(e$ to as thei$ ,o$k, then,
they, and -ountless othe$s like the', a((e-ted Bash in his app$oa-h to his lite$a$y pra1ti1eHa
,o$d ,hose a((iliations to othe$ p$o(essional dis-ou$ses * intend at least p$o1isionally to
in1oke.
6s is the -ase ,ith 'any othe$ p$o(essional a$tists o( the late 'edie1al a&e, .htetsu be&an
his ,o$kin& li(e as a 'onk, bein& pla-ed in a 7a$a 'onaste$y ,hile still in his 'idteens by
his (athe$. .in-e the lite$a$y and -le$i-al (ields -lea$ly sha$ed a dis-iplina$y bo$de$ in late
'edie1al 3apan, ho,e1e$, it should su$p$ise no one that in his ea$ly t,enties he de-ided to
pu$sue poet$y as a 1o-ation. :espite o--asional -le$i-al dispa$a&e'ents o( poet$y as ,ild
,o$ds and (an-y spee-h, Buddhist te'ples, espe-ially 'a2o$ Ien te'ples su-h as "(uku2i,
,he$e .htetsu se$1ed as a s-$ibe (o$ so'e yea$s be&innin& in 1K1K, ,e$e lite$a$y en-la1es.
"he p$o&$ession ($o' -le$i- to poet, albeit o(ten depi-ted as a t$ans&$ession by $eli&ious
institutions, had be-o'e a -o''on p$o(essional t$ansition lon& be(o$e .htetsu9s ti'e and
,ould -ontinue to be so in the (utu$e.
4hen .htetsu 'ade the de-ision to pu$sue poet$y as his li1elihood, that is, to be-o'e a
spe-ialist ,ho li1es ($o' his ,o$k,
K
he ,ent th$ou&h the standa$d 'otions, in-ludin& $ites o(
passa&e. Bi$st, he pu$sued t$ainin& unde$ t,o $e-o&niCed 'aste$s o( the uta (o$': the
,a$$io$poet *'a&a,a Ryshun D132!1K2%E and the -ou$t noble ReiCei "a'e'asa D13!1
1K1JE, o( ,ho' the latte$ -ould t$a-e ba-k his &enealo&y to Bu2i,a$a no "eika, the ulti'ate
sou$-e o( le&iti'a-y in the late 'edie1al a&e. .in-e .htetsu ,as not o( noble linea&e, he
-ould not hope to p$a-ti-e his p$o(ession at -ou$t+ hen-e it ,as to Ryshun, a 'an o( the
,a$$io$ -lasses ,ho o((e$ed a--ess to a 'o$e a'enable 'a$ket, at least in p$a-ti-al te$'s, that
he -hie(ly looked (o$ &uidan-e. <nde$ Ryshun9s tutela&e, .htetsu studied poeti-
-o'position and the -ou$t -lassi-s, sub'itted ,o$k (o$ -$iti?ue, en&a&ed in 1a$ious tests o(
-o'peten-e and $e-ei1ed esote$i- tea-hin&s and t$ainin&. "he si'ila$ity o( the ne, p$o(ession
to the -le$i-al p$o(ession 'ust ha1e p$epa$ed hi' ,ell and 'ade the p$e1ailin& patte$ns o(
lite$a$y p$a-ti-e see' (a'ilia$. Binally, he ,as -e$ti(ied by his 'aste$ and desi&nated ,ith the
p$o(essional na'e o( .ei&an .h&etsu9an, ,hi-h identi(ied hi' as an autho$ity. 6ll this
happened be(o$e 1K2%. "he$ea(te$, (o$ the ne0t (o$ty yea$s, until his death in 1K59, he li1ed in
1a$ious -otta&es in the -apital, thus si&ni(yin& his a((iliation ,ith ea$lie$ 'onkpoets. 6ll
indi-ations a$e that poet$y ,as his -hie( o--upation, as ,ell as a 'a2o$ sou$-e o( in-o'e. 6t a
ti'e ,hen poets -ould 'ake little ($o' the -i$-ulation o( thei$ 7orks, heHlike 'ost othe$
-o''one$ lite$atiHdepended instead on his 7ork as a tea-he$ and autho$ity to 'ake a li1in&.
Rathe$ than sellin& books, he sold hi'sel(.
.htetsu9s pe$sonal antholo&ies o( poet$y and his t$eatise'e'oi$ $h/tetsu monogatari
D8on1e$sations ,ith .htetsu, 1K5%=E o((e$ us a -lea$ pi-tu$e o( his p$o(essional duties and
ho, he -a$$ied the' out. "o be&in ,ith, these te0ts $e1eal that he 'ust ha1e spent a &ood deal
o( his ti'e in p$i1ate study and p$a-ti-e o( his a$t. 8on-u$$ently, ho,e1e$, they sho, that su-h
,o$k ,as &ene$ally unde$taken in p$epa$ation (o$ pe$(o$'an-e in a publi- settin&, a (eatu$e o(
lite$a$y li(e in his pe$iod that should ne1e$ be (o$&otten. >1e$ and o1e$ a&ain, (o$ instan-e, the
headnotes to his poe's indi-ate that they ,e$e -o'posed (o$ tsukinamikai, o$ 'onthly poet$y
'eetin&s, held at the ho'es o( i'po$tant pat$ons a'on& the 'ilita$y -lans and in te'ples.
"hese ,e$e so-ial e1ents ,ith $itual (eatu$es that -alled upon .htetsu as an e0pe$t to p$o1ide
leade$ship in -e$tain p$es-$ibed ,ays, su-h as p$o1idin& the set o( topi-s D*aiE on ,hi-h
poe's ,ould be -o'posed o$ a-tin& as le-to$ Dk/shiE o$ 2ud&e in ?uestions o( p$ope$ usa&e o$
1o-abula$y, in the sa'e ,ay that a -ou$t s-$ibe 'i&ht se$1e as a sou$-e o( spe-ialiCed
kno,led&e in the -onte0t o( 1a$ious delibe$ations. 6 b$ie( noteHand it is one a'on& 'anyH
($o' $h/tetsu monogatari speaks elo?uently (o$ his $ole as the 1oi-e o( autho$ity:
**, 5K. Bo$ the topi- 6 Bi$e in the B$aCie$, one 'ay t$eat eithe$ bu$ied e'be$s o$ a bu$nin&
(i$e, but (o$ the topi- Bu$ied ;'be$s, one 'ay not t$eat a (i$e in the b$aCie$.
5
"he sou$-e o( the $ule .htetsu in1okes he$e ,e do not kno,, althou&h it -ould easily ha1e
-o'e ($o' eithe$ Ryshun o$ "a'e'asa+ but that he a--epted it, as ,ell as his duty to
p$o-lai' it, see's beyond ?uestion. "he natu$e o( his identity as a p$o(essional ,as a(te$ all
to use his kno,led&e and skillHhis p$o1en -o'peten-eHto $espond to the -ontin&en-ies o(
p$a-ti-e in the kind o( so-ial settin& that ,as the p$i'a$y site o( poeti- -o'position in his
ti'e. *n his o,n -ha'be$s he -ould pe$haps dispense ,ith su-h -onside$ations, althou&h the$e
is little e1iden-e that he did+ at a poeti- &athe$in&, so-ial and &en$e -on1entions ,e$e his sto-k
in t$ade. *ndeed, in ?uotes like the (ollo,in&, a&ain ($o' $h/tetsu monogatari, he $ep$esents
hi'sel( as one ,hose task is the 'aintenan-e o( a dis-ipline that -lea$ly sustains a spe-i(i-
so-ial hie$a$-hy:
*, 9. "he leadin& poe' (o$ an e0te'po$aneous set o( a hund$ed poe's should be de(e$$ed to
the pe$son o( app$op$iate statusHthe 'aste$ o( the house, o$ the 'ost a--o'plished poet.
Ho,e1e$, ,hen -hoosin& by lot the topi-s (o$ a set o( t,enty o$ thi$ty poe's on the seasons,
the leadin& poe' 'ay be -o'posed by anyone.
!
*, 95. >n (o$'al publi- o--asions, the le-to$ ,ithd$a,s as soon as all o( the poe's by the
-ou$tie$s ha1e been $ead out loud. 7ot until these poe's a$e bein& $ead does the so1e$ei&n
take his o,n poe'slip ($o' the (olds o( his $obe and hand it to the $e&ent o$ -han-ello$, upon
,hi-h a ne, le-to$ -o'es in. He $eads the so1e$ei&n9s poe' se1en ti'es. Bo$ those in the
i'pe$ial entou$a&e as ,ell, poe's by the $e&ent and the hi&hest -ou$t nobles a$e $ead th$ee
ti'es. #oe's by 'e'be$s o( the sho&un9s (a'ily ha1e also been $ead th$ee ti'es in $e-ent
yea$s.
J
**, 1K. 6t an i'p$o'ptu poet$y &athe$in&, the poe'slips o( the youn&e$ 'e'be$s o( the
&$oup a$e ,$itten last and sub'itted (i$st. 4hen old and youn& a$e in attendan-e, one o$ t,o
inkstones a$e pushed ($o' one pe$son to the ne0t, ,ith the elde$s and senio$s ,$itin& (i$st and
the youn& ones in the lo,est seats ,$itin& last. 7ot,ithstandin&, they 'ust be the (i$st to pass
in thei$ poe'slips to the 'aste$ o( the topi-s. 7o 'atte$ ho, ?ui-kly they 'ay think o( thei$
poe's, the 2unio$ 'e'be$s 'ust not ,$ite the' do,n be(o$e the senio$ 'e'be$s ha1e
(inished. "his $ule 'ust be s-$upulously obse$1ed V
8
**, 5J. 4o'en and &i$ls, ,hen they ,$ite poe's on po-ket pape$, should not lea1e a blank
spa-e at the botto'. *t is all $i&ht to lea1e any a'ount o( blank spa-e at the top.
9
6(te$ $eadin& su-h state'ents, one -an easily i'a&ine .htetsu seated in a poeti- &athe$in&
,ith a di1e$se &$oup o( peopleHa noble o( 'iddlin& $ank+ a *aimy/, o$ ,a$lo$d, and his ,i(e
o$ siste$+ a (e, sa'u$ai+ the abbot o( a te'ple, a (e, o( his o,n dis-iples, ($o' 1a$ious
ba-k&$oundsHi( not in this o$de$, at least in so'e spe-i(i- o$de$. *n su-h a &$oup the
p$o(essional poet ,ould a-t as a$bite$, sou$-e o( kno,led&e, and 'aste$ o( -e$e'onies. 6nd
e1en in his o,n hut, sittin& only ,ith students an0ious to obtain su-h kno,led&e alon& ,ith
tidbits o( lo$e and esote$i- -o''enta$y, .htetsu pe$(o$'ed a si'ila$ (un-tionHall in pu$suit
o( a lite$a$y p$o(ession that 'ay ha1e see'ed to $ep$esent only an aestheti- t$adition but in
(a-t a$ti-ulated and $ein(o$-ed a hi&hly st$ati(ied so-ial st$u-tu$e. "he poe's he le(t us, ,hi-h
a$e usually $e-onte0tualiCed in -olle-tions that note only the -on1entional topi-s upon
,hi-h they ,e$e -o'posed, 'ay only hint at this di'ension o( thei$ e0isten-e+ but ,hat ,e
kno, o( his p$a-ti-e 'akes it -lea$ that his ,o$k ,as o(ten a kind o( pe$(o$'an-e ,ith
so-ial ends and so-ial -onse?uen-es.
4as .htetsu a,a$e o( his $ole= >$, 'o$e inte$estin&ly, ,as he satis(ied ,ith it= "hese a$e
?uestions to ,hi-h -o'plete ans,e$s o( -ou$se -annot be &i1en. "he only thin& one -an say
,ith -on(iden-e is that, like any p$o(essional in any ti'e, he 'ust ha1e a--epted 'any o( the
-on1entions o( his p$a-ti-e as at least p$ope$ and pe$haps e1en natu$al. But -o''ents su-h
as the (ollo,in& $e1eal that he ,as so'eti'es i'patient ,ith the standa$ds o( his day.
**, !5. *n poet$y the$e a$e 'any 1e0ations. 4indin& up loose ends and thinkin& o( the (utu$eH
thin&s ne1e$ tu$n out as one had intended. *( one -ontinues to -o'pose poe's o( the so$t that
e1e$yone else -onside$s &ood, one 'ust $e'ain (o$e1e$ at that o$dina$y le1el. >n the othe$
hand, ,hen one ,$ites poe's ,hose essen-e is p$o(ound and di((i-ult, othe$s (ail to
unde$stand the', and this is ($ust$atin&. 7o doubt ,hat is &ene$ally -alled &ood ,ould see'
to be &ood enou&h, * suppose.
1%
"hus, ,ith so'e di((iden-e, .htetsu hints at his (eelin&s about the status ?uo. 6nd one 'ust
add that his attitude ,as duly noted by those at the pinna-le o( poeti- $eputation, the -ou$t
(a'iliesH'eanin& 'ost p$o'inently the 6sukaiHby ,ho' the dis-ipline o( poet$y in the
'id(i(teenth -entu$y ,as &o1e$ned, so to speak, ($o' the top. 6l$eady e0-luded ($o' a
leade$ship $ole in the uppe$ so-ial $ea-hes o( his p$o(ession by his la-k o( a$isto-$ati-
pedi&$ee, his a$$o&an-e $esulted in a so$t o( banish'ent ($o' poeti- so-iety (o$ a ti'e in the
1K3%s and the$ea(te$ to a li(e on the ($in&es o( -ou$t so-iety, ,he$e he en&a&ed in stylisti-
e0pe$i'ents that o(ten alienated hi' ($o' the &$and t$adition as p$a-ti-ed at -ou$t.
11
*n te$'s
o( his p$o(ession, then, his attitude led to a kind o( so-ial -ensu$eHan e0-lusion i'posed
upon hi' e0te$nally but pa$tially at his o,n $e?uest, despite his a-kno,led&ed p$o(essional
skill.
Get it is i'po$tant to note at this point that .htetsu ne1e$ &a1e up his a-ti1ities as a 'aste$ o(
poet$y. Bo$ e1en in his o,n ti'e .htetsu9s -$iti?ue o( the status ?uo did not -onstitute a
$epudiation o( the p$o(ession. *ndeed, 'y pu$pose in e1okin& these state'ents is to sho, ho,
by alienatin& hi'sel( ($o' -e$tain poeti- -i$-les he ,as si'ply optin& (o$ a -han&e in his
-a$ee$ that ,ould identi(y hi' as a se'i$e-luse,
12
allo,in& hi' to 'ake state'ents su-h as
this:
*, 1. *n this a$t o( poet$y, those ,ho speak ill o( "eika should be denied the p$ote-tion o( the
&ods and Buddhas and -onde'ned to the punish'ents o( hell.
"eika9s des-endants split into the t,o (a-tions o( the 7i2 and ReiCei, and these ,ith
"a'ekane9s (a-tion 'ake up th$ee s-hools V *t is 'y opinion that a pe$son should pay no
attention ,hate1e$ to these s-hools V
13
;lse,he$e * ha1e -ha$a-te$iCed this de-la$ation as a tu$n a,ay ($o' tea-he$s o( the p$esent
to,a$d a tea-he$ o( the past.
1K
But, ho,e1e$ one 'ay -hoose to -on-eptualiCe it, .htetsu9s a-t
si&ni(ied a p$o(essional -hoi-e, ,ith attendant $eli&ious o1e$tones that ,ill su$p$ise no student
o( 'edie1al poet$y and that ,e$e by his ti'e al$eady -on1entionalHthe -hoi-e o( a((iliation
,ith a nu'be$ o( ea$lie$ (i&u$es ,hose na'es a$e spe-i(i-ally 'entioned in $h/tetsu
monogatari, in-ludin& Bu2i,a$a no .hunCei, "onna, and Goshida no Aenk, 'ost
-onspi-uously.
15
"hese na'es also -onstituted a kind o( autho$ity, indeed an autho$ity that
-lai's to be t$ans-endent in so'e ,ays.
1!
"hat .htetsu seeks to identi(y ,ith the' is
e1iden-e enou&h that he still thou&ht o( hi'sel( as a p$o(essional, althou&h a p$o(essional o(
an ideolo&i-ally hi&he$ o$de$. Bo$ as #ie$$e Bou$dieu notes in a -onside$ation o( $ites o(
institution, the hi&hest a$ti-ulation o( p$o(essional autho$ity o(ten in1ol1es ,hat looks like
sel(sa-$i(i-e.
1J
* ,ould a$&ue that .htetsu9s tu$n a,ay ($o' the p$o(essional (a-tions o( his
ti'e and to,a$d "eika and his spi$itual hei$s ,as 2ust su-h an a-t o( sy'boli- sa-$i(i-e, a
sel(e0-lusion ai'ed at a kind o( distin-tion that de$i1es ($o' the autho$ity o( $eli&ious ideals
and the spe-ial status a--o$ded to those ,ho (ind the'sel1es on the 'a$&ins.
18
*( histo$i-al status 'ay be eli-ited as a 'easu$e o( su--ess, one 'ust say that .htetsu9s bold
a-t o( sel(e0-lusion paid o((. Bo$ -o'ple0 politi-al $easons, he &ained the suppo$t o(
po,e$(ul pat$ons su-h as *-hi2 Aaneyoshi D1K%281E and ,as able to 'aintain a $eputation
(o$ hi'sel(, espe-ially a'on& the 'ilita$y houses. >ne o( the i$onies o( his -a$ee$, ho,e1e$, is
that he su--eeded in one o( the 'ost 1ital o( p$o(essional dutiesHna'ely, sel($epli-ationH
'ost noti-eably not in his &en$e o( -hoi-e, the uta, but in linked 1e$se, o$ renga( Bo$ a'on&
his students it ,as the renga 'aste$s 8hiun Dd. 1KK8E, .Cei Dd. 1K55E, and .hinkei D1K%!J5E
that &ained &$eatest p$o(essional p$o'inen-e, e1entually &oin& on to $epli-ate the'sel1es in a
nu'be$ o( othe$ 'aste$s, in-ludin& 'ost p$ee'inently *n .&i D1K2115%2E.
.in-e * ha1e ,$itten at &$eat len&th about the topi- in othe$ pla-es, * ,ill say only this about
.&i9s -a$ee$: that he, like .htetsu, -a'e ($o' a -o''one$ ba-k&$ound+ that he, too, be&an
his p$o(essional li(e by ente$in& a Buddhist 'onaste$y+ and than then, a(te$ -hoosin& renga
poet$y as a p$o(ession in his thi$ties, he ,ent on th$ou&h the usual steps o( inst$u-tion and
initiation to $e-ei1e 1a$ious -e$ti(i-ates o( autho$ity and be-o'e a so-ially $e-o&niCed 'aste$
o( linked 1e$se ,ith nu'e$ous students, so'e e1en a'on& the old nobility.
19
6lthou&h he is
,ell kno,n (o$ his a((iliation ,ith the 'o$e -onse$1ati1e lite$a$y (a'ilies at -ou$t, he also
studied unde$ se1e$al o( .htetsu9s students, ,ith ,ho' he had 'u-h in -o''on
p$o(essionally and ,hose $eputations he did 'u-h to (u$the$ du$in& the -ou$se o( a lon& and
a-ti1e -a$ee$.
2%
<nlike .htetsu, .&i ne1e$ $epudiated the lite$a$y (a-tions o( his day, no$ ,as he e1e$
ost$a-iCed by pat$ons o$ -lients (o$ a$$o&an-e. "o the -ont$a$y, one 'i&ht al'ost say that he
$ep$esents those ,ho in .htetsu9s ,o$ds a$e -ontent to 'ake do ,ith ,hat the ,o$ld -alls
&ood enou&h. But * ,ould -ontend that at least one o( his a-tions late in li(e -onstitutes a
kind o( sel(e0-lusion that links hi' to .htetsu. * $e(e$ to his de-ision in the last 'onth o(
1K89 to $eti$e as .te,a$d o( the .ho&unal Ren&a @aste$ Ds/sh/EHan o((i-ial sine-u$e &$anted
by the sho&un hi'sel( that b$ou&ht ,ith it (inan-ial $e,a$ds as ,ell as so-ial p$esti&eHa(te$
less than t,o yea$s in that o((i-e.
21
"o be su$e, the$e 'ay ha1e been 'any (a-to$s that ,ent in to .&i9s de-ision, 'any o( ,hi-h
the do-u'ents o( the ti'e do not $e1eal to us+ but it is nonetheless -lea$ that ?uittin& the
o((i-e that ,as the pinna-le o( the renga p$o(ession a(te$ so sho$t a stint ,as an a-t o( sel(
e0-lusion. *n a ,o$d, it ,as an a-t that de-la$ed to the ,o$ld a kind o( $eti$e'ent, but a
$eti$e'ent that, ,hen ,e see it in the li&ht o( his late$ a-ti1ities, see's not to ha1e si&nalled
any ,ithd$a,al ($o' the usual p$o(essional obli&ations. Bo$ du$in& the yea$s a(te$ his
$esi&nation, .&i, li1in& 'u-h o( the ti'e in his -otta&e in no$the$n Ayto, ,as 'o$e a-ti1e
than e1e$ be(o$e as a 'aste$ in1ol1ed in all the p$i'a$y tasks o( a lite$a$y p$o(essional:
tea-hin&, -olle-tin&, -opyin&, -o'posin&, 2ud&in&, supe$1isin&.
22
@o$eo1e$, he ,as
tho$ou&hly in1ol1ed in anothe$ a-ti1ity that 'i&ht also be -onside$ed an e0tension o( his
p$o(ession, and oneHnot by -han-e, * ,ould a$&ueHthat he 'i&ht not ha1e been able to
pu$sue so (ully as .ho&unal @aste$: na'ely, t$a1el, ,hi-h o--upied (ully hal( o( his ti'e ($o'
1K9% to 15%2.
23
.o p$o'inent is t$a1el as a lite$a$y a-ti1ity Dand toposE in 'edie1al lite$atu$e that one -an
easily (o$&et that not all poets a-tually spent 'u-h ti'e on the $oad. .htetsu, (o$ instan-e,
see's to ha1e stayed nea$ ho'e in Ayto 1i$tually all o( his li(e+ like,ise, .&i9s student
.hhaku ,as a sedenta$y type, as ,e$e 'ost -ou$t poets. .&i, ho,e1e$, ,as on the $oad
-onstantly, on 2ou$neys that took hi' e1e$y,he$e ($o' .hi$aka,a Ba$$ie$ in the no$th to
:aCai(u in the south. *n his ea$ly yea$s su-h t$a1els had doubtless been a p$o(essional
ne-essity, (o$ t$a1el ,as a(te$ all a ,ay to 'eet pat$ons, to test -o'peten-e, to do business.
But the $e'a$kable thin& in .&i9s -ase is that he -ontinued t$a1elin& lon& a(te$ he -ould ha1e
settled into a lu-$ati1e lite$a$y p$a-ti-e in the -apital, espe-ially a(te$ his appoint'ent as
sho&unal ste,a$d. *n othe$ ,o$ds, * take his late$ t$a1els to be less a p$odu-t o( ne-essity than
o( -hoi-e: a&ain, a si&nal o( his desi$e to &ain an additional 'easu$e o( ?uasi$eli&ious
autho$ity, in his -ase 1ia sy'boli- a((iliation not ,ith "eika o$ .hunCei, as had been t$ue o(
.htetsu, but ,ith othe$ pat$on saints o( poet$y ,ho ,e$e $eno,ned as t$a1ele$sH'ost
i'po$tantly the 'onks 7in D9881%5%=E and .ai&y D11189%E.
5ike .htetsu9s -onde'nation o( petty (a-tionalis', then, * ,ould a$&ue that .&i9s late$
t$a1elsH,hate1e$ thei$ p$a-ti-al pu$posesH'ay be inte$p$eted, alon& ,ith his $esi&nation as
.ho&unal Ren&a @aste$, as sy'boli-ally potent de-la$ations o( his p$o(essional a'bitions.
Reti$in& ($o' the hi&hest o( bu$eau-$ati- o((i-es, ,ith attendant duties that ,ould ha1e kept
hi' in the -apital 'u-h o( the ti'e, ,as (o$ .&i an a-t o( sel(e0-lusion that allo,ed hi' to
play the p$o(essional $ole o( 'endi-ant, a kind o( $o1in& $e-luse. 6nd this a&ain ,as a step up
to a hi&he$ o$de$, a sa-$i(i-e that b$ou&ht ,ith it the p$o'ise o( distin-tion.
6(te$ .&i, the poeti- p$o(essions ,ent th$ou&h a se$ies o( t$ans(o$'ations that pa$alleled
-han&es takin& pla-e in 3apanese so-iety as a ,hole. *n-$eased u$baniCation, e-ono'i-
di1e$si(i-ation, $isin& $ates o( lite$a$y, and the ad1ent o( ne, publishin& te-hnolo&ies opened
up ne, (ields o( dis-ou$se as su$ely as they -$eated ne, 'a$kets. #oeti- institutions, in othe$
,o$ds, -ould not $e'ain untou-hed by so-ial -han&e. >ne o( the $esults o( all this ,as a ne,
&en$e, haikai renku, a (o$' o( linked 1e$se ,hose (o$'al o$i&ins -an be t$a-ed ba-k to the
linked 1e$se o( .&i but ,hose i''ediate asso-iations in the 1!%%s ,e$e 'o$e plebeian. But
the old &en$e o( renga $etained its i'po$tan-e in the hi&hest so-ial -i$-les+ and so'e othe$
thin&s, too, $e'ained $e'a$kably the sa'e. .till students ,antin& to pu$sue poet$y as an
o--upation studied unde$ 'aste$s, still those 'aste$s se$1ed as (i&u$es o( autho$ity ,ho
-onstituted an Wlite -ad$e o( spe-ialists. .tyles and stylisti- t$ends -han&ed, as did
$elationships bet,een the -ad$es and othe$ politi-al and e-ono'i- institutions, but poeti- ,o$k
in the ea$ly ;do pe$iod ,as still di$e-ted by so-ially san-tioned p$o(essionals.
"he 'an ,e kno, as @atsuo BashH,ho is kno,n in ea$ly $e-o$ds as Ai&insaku,
Hanshi-hi, "shi-hi$, "adae'on, 3inshi-hi$, and, 'ost p$o'inently, @une(usaH,as bo$n
in the (ou$th de-ade o( the ;do pe$iod, in the yea$ 1!KK, nea$ the -astle to,n o( <eno in *&a
p$o1in-e, the son o( a ,ealthy landholde$ o( sa'u$ai sto-k. 4e kno, 1i$tually nothin& o( his
li(e until his late teens, ,hen he ente$ed the se$1i-e o( "d Goshikiyo, hei$ o( the "d -lan,
(eudal lo$ds o( *&a. "$adition says that he se$1ed on Goshikiyo9s kit-hen sta((, althou&h no
positi1e p$oo( o( that has e1e$ been p$odu-ed. *n any -ase, (o$ a youn& 'an o( his ba-k&$ound
to ente$ into su-h se$1i-e at one le1el o$ anothe$ ,as -o''onpla-e+ and it ,as 2ust as
-o''onpla-e (o$ one in su-h a situation to seek out an ent$We into one o( the a$tisti-
p$o(essions, as the youn& @une(usa, ,ho had al$eady sho,n a talent in haikai poet$y, see's
to ha1e done.
"d Goshikiyo ,as an a'ateu$ haikai poet hi'sel(, ,ho had taken the penna'e .en&in to
de-la$e his a((iliation ,ith Aita'u$a Ai&in D1!2K1J%5E, one o( the 'ost p$o'inent 'aste$s in
nea$by Ayto. "hat .en&in and the youn& @une(usa should de1elop a spe-ial $elationship
,as the$e(o$e only p$edi-table. #$obably th$ou&h anothe$ lo-al dis-iple o( Ai&in, @une(usa
hi'sel( ,as a((iliated ,ith that Ayto 'aste$, an adhe$ent o( the "ei'on .-hool o( haikai( *n
1!!!, he and his pat$on pa$ti-ipated to&ethe$ in a linked 1e$se se?uen-e 'a$kin& the
anni1e$sa$y o( the deathdate o( @atsuna&a "eitoku D15J11!53E, Ai&in9s tea-he$. "hus
@une(usa ,as poised to &ain ent$y into haikai so-iety.
*n 1!!!, .en&in died, lea1in& his lite$a$y -o'panion D,ho no, -alled hi'sel( .b, a pen
na'e -$eated by si'ply $eadin& the -ha$a-te$s o( @une(usa in 8hinese instead o( 3apaneseE
be$e(t in 'o$e ,ays than one. Bo$ o( e?ual si&ni(i-an-e to the e'otional blo, o( losin& a
(ello, poet ,as the blo, o( losin& an e'ploye$ and pat$on. 8ont$a$y to popula$ sto$ies that
ha1e hi' ,ande$in& (o$ so'e yea$s t$yin& to -o'e to te$'s ,ith the death o( .en&in, he
see's to ha1e stayed in <eno (o$ the ne0t (ou$ o$ (i1e yea$s, p$obably li1in& ,ith his (a'ily.
6lthou&h it see's -e$tain that @une(usa -ontinued -o'posin& poet$y and that he $e'ained in
-onta-t ,ith Ai&in, ,e do not kno, p$e-isely ,hat he did ,ith his ti'e du$in& these yea$s,
that is, until 1!J2, ,hen he p$esented a thi$ty1e$se hokku a7ase as a 1oti1e o((e$in& to the
"en'an&Q .h$ine in <eno. 7o doubt that a-t had p$i1ate si&ni(i-an-e as ,ell+ but to us it is
i'po$tant be-ause su-h an o((e$in& ,as one o( the -on1entional steps taken by those
e'ba$kin& upon the haikai p$o(ession. Be(o$e, he had $e'ained so'ethin& o( an a'ateu$+
a(te$ 1!J2 he ,as -lea$ly askin& to be kno,n as a p$o(essional haikai poet.
"he steps the youn& poet took to,a$d a-?ui$in& the (ull p$i1ile&es o( the p$o(ession ,e$e
enti$ely -on1entional in the sense o( that te$' e'ployed by Bou$dieu and othe$
so-iolo&ists. Bi$st, he sou&ht (u$the$ inst$u-tion ($o' Ai&in, e1entually $e-ei1in& se-$et
tea-hin&s that -on(e$$ed upon hi' a so-ially $e-o&niCed autho$ity.
2K
7e0t, he le(t his
ho'eto,n and ,ent to a -ultu$al -ente$, in this -ase ;do, ,hi-h ,as at the ti'e still a youn&,
li1ely, and open -ity ,he$e a youn& 'an -ould 'ake a na'e (o$ hi'sel( 'o$e easily than in
AytoHa -hoi-e -lea$ly di-tated by p$o(essional a'bitions.
25
"hen he did ,hat .htetsu o$
.&i o$ Ai&in ,ould ha1e -ounseled hi' to do: he p$a-ti-ed, in o$de$ to establish his
$eputation. ;a$ly on, he see's to ha1e $elied -hie(ly on a-?uaintan-es ($o' *&a and othe$
dis-iples o( Ai&in (o$ the so-ial -onne-tions ne-essa$y to &ain a--ess to sou$-es o( sy'boli-
po,e$. "o 'ake ends 'eet, he took se1e$al -le$i-al 2obs, one in the 8ity 4ate$,o$ks
:epa$t'ent, anothe$ as the s-$ibe to a senio$ poet.
2!
But $e-o$ds 'ake it -lea$ that his
dedi-ation ,as to haikai as a p$o(ession. By 1!J5, unde$ the penna'e "sei, he ,as &ainin&
$e-o&nition th$ou&h his pa$ti-ipation in haikai &athe$in&s and $ep$esentation in haikai
antholo&ies and had e1en be&un to att$a-t students. 5ike 'ost youn& poets o( the ti'e, he
be-a'e a de1otee o( the :an$in s-hool, headed by 7ishiya'a .in D1!%582E. 6lthou&h this
,as a de-ision so'e s-hola$s ,ant to see as de$i1in& ($o' pu$ely a$tisti- 'oti1ations, it
see's undeniable that it ,as also a ne-essa$y 'o1e (o$ a youn& poet seekin& p$o(essional
$e-o&nition.
*n the sp$in& o( 1KJJ, "sei held a thousand1e$se &athe$in& and p$obably put out his shin&le
as a s/sh/, o$ 'aste$. By this ti'e he ,as a-tin& as 2ud&e and tea-he$, a(te$ sha1in& his
head bonCestyle, anothe$ sy'boli- a-t si&nalin& his identity as a p$o(essional. *n a ,o$d,
then, he had a-hie1ed 'aste$y, in all senses o( that te$'. By 1!8% he ,as li1in& in the
7ihonbashi a$eaHa ha1en (o$ haikai poetsHand ,o$kin& (ull ti'e as a ten&a, o$ 'a$ke$, a
li-ensed haikai poet to ,ho' ,o$k -ould be sub'itted (o$ $e1ie, and 'a$kin& ,ith
2ud&'ents o( e0-ellen-e DtenE. @ost o( his students ,e$e o( -ou$se a'ateu$s ,hose 2ob in the
e-ono'y o( thin&s ,as to p$o1ide hi' ,ith a li1in&+ but a nu'be$ o( the' ,e$e also
be-o'in& *eshi o$ shitei, o$ in othe$ ,o$ds, dis-iples ,ho ,ould 'o$e ob1iously assu$e the
so-ial and -ultu$al -ontinuity that is essential to any p$o(essional &$oup.
But in the ,inte$ o( 1!8% "sei did so'ethin& that at (i$st &lan-e see's e0t$ao$dina$y: as
noted at the be&innin& o( this pape$, he le(t 7ihonbashi and took up $esiden-e in an a$ea east
o( the $i1e$ .u'ida, &i1in& up his nas-ent p$a-ti-e as a 'a$ke$, an a-t that one s-hola$
des-$ibes as tanta'ount to ?uittin& the p$o(ession as a li1elihood, anothe$ as an a-t o(
p$o(essional sui-ide.
2J
8on-u$$ently, he also see's to ha1e 'ade ,hat s-hola$s -ha$a-te$iCe as
othe$ depa$tu$es ($o' the e0pe-ted haikai patte$nHtu$nin& a,ay ($o' the :an$in style,
takin& up the study o( :aois' and 8hinese poets, and e1en studyin& Ien unde$ But-h, a
'onk li1in& nea$by. 5ike,ise, it ,as a$ound this ti'e that he de1eloped ne, $elationships
,ith his -hie( students, $elyin& on the' 'o$e (o$ 'ate$ial sustenan-e, but th$ou&h an
in(o$'al, less supe$(i-ially se-ula$ 'ode o( $e-ip$o-ation that pe$'itted both 'aste$ and
dis-iple to think o( the $elationship in 'o$e idealisti- te$'s.
28
"he usual ,ay to a--ount (o$ this tu$nin& point in Bash9s li(e is to see it as 'oti1ated by
eithe$ stylisti- o$ spi$itual -on-e$ns, ,hi-h in eithe$ -ase a$e unde$stood as e0p$essin& a ne,
se$iousness o( pu$poseHthe kind o( se$iousness e1ident in a (a'ous hokku -o'posed by
"sei that 1e$y yea$:
>n a ba$e b$an-h
a -$o, has settled do,n to $oost.
*n autu'n dusk.D29E
"his sta$k i'a&e is a po,e$(ul one, pe$haps e1en po,e$(ul enou&h to te'pt one to,a$d a
$eadin& that sees the -$o, as the poet optin& (o$ an as-eti- e0isten-e a'on& the ba$e t$ees, a
-on1enient 'etapho$ (o$ the 'odest hut ,ith the plantain t$ee that ,ould soon &i1e its
o--upant the na'e Bash. 6nd no doubt his $eti$e'ent did entail stylisti- and spi$itual
-han&es that 'i&ht be -ha$a-te$iCed as in so'e ,ays dep$o(essionaliCin&, to use the
te$'inolo&y o( a p$o'inent so-iolo&ist.
3%
But * ,ould like to depa$t ($o' p$e-edent and
-onside$ "sei9s 'o1e a-$oss the $i1e$, his $ein-a$nation as Bash, as in (a-t a 'o1e that ,as
($o' the be&innin& ena!le*, o$ 'ade possible, by his p$o(ession. Bo$ despite the
-ha$a-te$iCations o( 'ost o( his bio&$aphe$s, it is -lea$ that a(te$ 1!8% Bash still depended
upon haikai (o$ his o--upation. His ne, $esiden-e, belyin& its status as a he$'ita&e DanE, ,as
not lo-ated o(( on a 'ountainside, but in the -ity+ and he still had studentsH.u&iya'a .a'pQ
D1!KJ1J32E, "aka$ai Aikaku D1!!11J%JE, Hatto$i Ransetsu D1!5K1J%JE, and othe$sH,ho
looked to hi' (o$ &uidan-e and ,e$e in (inan-ial te$'s absolutely essential to his -ontinued
p$a-ti-e.
31
His a-t ,as not si'ply a -apitulation, then, o$ an abandon'ent+ it ,as, ho,e1e$, an
a-t o( sel(e0-lusion, si'ila$ to the a-ts o( sel(e0-lusion that ,e sa, in the -a$ee$s o(
.htetsu and .&i and -ould (ind in the -a$ee$s o( 'any othe$ poets be(o$e Bash9s ti'e.
*n this sense Bash9s $eti$e'ent ,as a tho$ou&hly p$o(essional a-t ,ith i'pli-ations that ,e$e
no doubt -o''uni-ated to the so-ial ,o$ld that ,as the only possible a$ena (o$ his a$tHthe
,o$ld o( haikai so-iety, 'eanin& poets, both a'ateu$ and p$o(essional, as ,ell as pat$ons,
publishe$s, s-hola$s, and othe$ -onsu'e$s o( his ,o$k. *t ,as not, then, an unp$e-edented a-t,
but one that * belie1e the p$o(ession allo,ed (o$: a tu$n a,ay ($o' the -o''e$-ial to,a$d
,hat ideolo&i-ally ,e$e unde$stood as the hi&he$ &oals o( the aestheti- and the $eli&ious, but
,hi-h ,as also an atte'pt to &ain &$eate$ estee' in the p$o(essional ,o$ld, to $ea-h a pla-e
$ea-hed by only a (e,. *n a ,o$d, it ,as a ,ay to $ea-h out (o$ (a'e, althou&h a kind o( (a'e
that ,as al,ays 1ou-hsa(ed unde$ a $ule o( 'odesty and sel(e((a-e'ent.
"o those ,ho study patte$ns o( p$o(essionals and thei$ institutions, su-h a -ha$a-te$iCation o(
Bash9s a-tion 'ay not be su$p$isin&. 6s one s-hola$, speakin& (o$ 'any othe$s, says, it is
$outine (o$ p$o(essions to de(ine the'sel1es in ,ays that p$etend to t$ans-end the sel(
inte$est o( business and 'a$ket $elations.
32
But (o$ $easons that a$e e?ually t$anspa$ent,
lite$a$y s-hola$s ha1e been $elu-tant to analyCe ,$ite$s in te$'s o( the so-ial institutions that
enable thei$ ,o$k, assu'in& instead that thei$ sub2e-ts o( study should be unde$stood
indi1idually, as isolated a$tists $athe$ than as 'e'be$s o( p$e-onstituted -o''unities.
33

"hus .htetsu, .&i, and Bash o(ten appea$ in lite$a$y histo$ies as he$'its in huts, bent o1e$
thei$ ,$itin& desks in pu$suit o( a p$i1ate inspi$ation that sets the' apa$t ($o' thei$
-onte'po$a$ies, p$odu-in& ,o$ks that a$e seldo' analyCed in ,ays that $elate to the
-on-$ete -onditions o( thei$ p$o(essional p$a-ti-e.
4ith othe$s, * ,ould a$&ue that the$e a$e 'any $easons to $e2e-t su-h a solipsisti- 1ie, o(
lite$a$y ,o$k in any &en$e. But in the -ase o( Bash the $easons (o$ abandonin& su-h a 1ie,
a$e pa$ti-ula$ly -o'pellin&. Bo$ Bash9s &en$e o( haikai renkuHa (o$' o( linked 1e$se that
,as -o'posed by any,he$e ($o' t,o ot a doCen o$ so pa$ti-ipants in a -o''unal settin&H
,as an a$t (o$' that ?uite lite$ally -ould not be pu$sued in the absen-e o( a so-ial -onte0t.
>bs-u$in& this (a-t, s-hola$s e1en today tend to -on-ent$ate on Bash9s hokku $athe$ than on
his se?uen-es+ but any study o( his li(e 'ust deal ,ith the (a-t that 'u-h o( his p$o(essional
ti'e ,as spent pu$suin& his a$t in -on-e$t ,ith othe$ peopleHp$o(essionals and lay'en, o(
ne-essity. 6nd, as said abo1e, this ,as as t$ue a(te$ his 'o1e to Buka&a,a as it had been
be(o$e. "hat he stopped ,o$kin& as a ten&a did not 'ean that he stopped p$a-ti-in& as a poet.
6nd ,e -an be -e$tain that his students, both a'ateu$ and p$o(essional, sa, his -hoi-e to
'o1e out o( 7ihonbashi as a step up and not a step out. *ndeed, * ,ould 'aintain that his
'o1e 'ay be unde$stood as an instan-e o( ,hat those in the hi&hest $anks o( a p$o(ession a$e
o(ten ,ont to do, i.e., to test thei$ -o'peten-e in a ,ide$ a$ena, and by so doin& to -lai' a
t$ans-endent status (o$ the'sel1es and thei$ o--upations.
3K
Re-o$ds o( Bash9s li(e 'ake the so-ial di'ensions o( his e0isten-e abundantly -lea$ to the
student ,ho looks beyond his ,o$ks as 'e$e $ep$esentations o( stylisti- ideals to ,hat they
$e1eal about his p$a-ti-e.
35
But pe$haps the 'ost di$e-t ,ay to app$oa-h the sub2e-t is to
e0a'ine his t$a1el 2ou$nals. Bo$ he ,$ote 'o$e o( theseHsi0, in (a-tHthan any othe$ 'a2o$
haikai poet+ and, si&ni(i-antly, all o( the' ,e$e ,$itten a(te$ his $eti$e'ent as ten&a, indi-atin&
that (o$ so'e $easonHa p$o(essional one, * ,ill a$&ueHhe (elt the need to in1est a &ood pa$t
o( his ti'e and 'u-h o( his ne,ly 'eta'o$phosed identity in li(e on the $oad. Bo$ these
$easons the t$a1el 2ou$nals $e-o''end the'sel1es as use(ul $esou$-es (o$ study o( Bash the
p$o(essional.
"he (i$st o( Bash9s e0tended 2ou$neys be&an in 1!8K, the autu'n and ,inte$ o( ,hi-h he
spent t$a1ellin& ($o' ;do to *se, Goshino, 7a$a, Ayto,L&aki, 7a&oya, $etu$nin& to ;do 1ia
Aiso and Aai in the late sp$in& o( 1!85. "he ne0t t,o yea$s he spent in ;do, settin& out a&ain
in the ei&hth 'onth o( 1!8J to 1isit Aashi'a in the east, ,ith .o$a D1!K91J1%E and othe$
dis-iples a--o'panyin& hi', $etu$nin& in the t,el(th 'onth o( the sa'e yea$. >1e$ the ne0t
se1en yea$s until his death in 1!9K, othe$ 2ou$neysHso'e sho$te$, so'e lon&e$Htook hi'
e1e$y,he$e ($o' his ho'eto,n o( <eno in the Aansai to @atsushi'a and .ado in the no$th.
5ike .&i, he the$e(o$e ?uite lite$ally spent hal( o( his last yea$s on the $oad, $etu$nin& to ;do
only (o$ sho$t 1isits, p$o1in& that, as he says at the be&innin& o( a 2ou$nal ,$itten in 1!89, he
had indeed (allen p$ey to ,ande$lust so'e yea$s a&o, desi$in& nothin& bette$ than to be a
1a&$ant -loud s-uddin& be(o$e the ,ind.
3!
He diedH?uite (o$tuitouslyHinLsaka, in
bo$$o,ed $oo's, su$$ounded by dis-iples.
Bash9s ea$liest t$a1el $e-o$d, ,hi-h he na'ed Nozarashi kik/, o$ ;0posu$e in the Bields,
,as ,$itten in 1!85, as a -h$oni-le o( his (i$st 2ou$ney alluded to abo1e. *t ,as (ollo,ed by
ashima kik/ DA 2ourney to ashimaE in 1!8J, Oi no ko!umi DBa1kpa1k NotesE in 1!88,
$arashina kik/ DA 2ourney to $arashinaE in 1!89, and Oku no hosomi1hi D'he Narro7 .oa*
of the InteriorE in 1!9K. $aga nikki D$aga DiaryE, ,$itten in 1!91, is the sli' $e-o$d o( a (e,
'onths spent in the .a&a a$ea o( Ayto in the ea$ly su''e$ o( that yea$. "hus ,hile he
stopped sho$t o( $e-o$din& all o( his ,ande$in&s, the e0tant t$a1el ,$itin&s taken to&ethe$ tell
us 'u-h about his lite$a$y p$a-ti-e du$in& his (inal yea$s.
>n a (i$st $eadin&, these $e-o$ds see' to $e1eal little that is use(ul to the student o( Bash as a
p$o(essional. "he (o-us is 'o$e on poe's and on the aestheti- e0pe$ien-e they $ep$esent than
on the so-ial -i$-u'stan-es in ,hi-h those poe's ,e$e -$eated. .o'e pa&es, su-h as the
(ollo,in& ($o' Nozarashi kik/, in (a-t do little but $e-o$d hokku ,ith b$ie( int$odu-to$y notes
o( the so$t (ound in i'pe$ial poet$y and antholo&ies.
8hanted on the $oad into 7a&oya:
6 'ad-ap 1e$se:
6 ,indbatte$ed t$eeH
su-h is 'y body, 2ust like
old 8hikusai9s.
/$ass (o$ 'y pillo,:
*s that a do&, ,eepin& ,ith the $ain=
6 1oi-e in the ni&ht.
4alkin& a$ound lookin& at the sno,:
Hey, you to,nspeopleS
5et 'e sell you this st$a, hatH
a hat 'ade o( sno,.
.eein& a t$a1ele$:
;1en a ho$se
&ets a sta$eH,hen sno, is (allin&
in the 'o$nin&.
.pendin& a day at the bea-h:
"he sea &$o,s 'o$e da$kH
the 1oi-es o( the du-ks soundin& (aintly ,hite.D3JE
He$e, in patte$ns (a'ilia$ to any student o( 3apanese poet$y, ,e -on($ont a $e-o$d that $edu-es
e0pe$ien-e to the sli' (i&u$es o( a hi&hly aestheti-iCed $esponse to natu$al s-enes. 6nd those
sa'e patte$ns a$e $epeated -onstantly in the othe$ t$a1el $e-o$ds. #$edi-tably, then, the$e a$e
allusions to old poe's, old pla-es, and old poets and histo$i-al (i&u$es, alon& ,ith so'e
$e(e$en-es to othe$ si&hts alon& the $oad+ but, 2ust as p$edi-tably, o1e$t $e(e$en-es to the
p$o(essional a-ti1ities o( Bash9s itine$a$y a$e s-a$-e. *n (a-t, $eadin& the (ollo,in& passa&es
($o' the be&innin&s o( (ou$ o( his 'ost (a'ous $e-o$ds one 'i&ht -on-lude that the only
'oti1ation he ad'its to is a desi$e to see that 'ost poeti- o( si&hts, the 'oon:
.ettin& out on a thousand'ile t$ek, * ha1e no p$o1isions (o$ the $oadH-astin& 'y lot ,ith
the e'ptiness o( the 'idni&ht 'oon. .o said the 'an o( old ,hose sta(( * took as 'y suppo$t
as * le(t 'y hut by the $i1e$ in the ei&hth 'onth o( the (i$st yea$ o( 3ky.
38
HNozarashi kik/
*t see's that ,hen "eishitsu o( Ayto ,ent to see the 'oon at .u'a Bay, he said this: *n a
pine9s shade R beneath the (i(teenth 'oonH R the @iddle 8ounselo$. 4ith (ondness (o$ that
sa'e 'ad'an o( old, * de-ided this autu'n to &o and see the 'oon in the 'ountains o(
Aashi'a.
39
Hashima m/*e
.,ayed into a-tion by the i'po$tunin&s o( the autu'n ,ind, * set out to see .a$ashina Nilla&e
and the 'oon o1e$ @ount >basute V
K%
H$arashina kik/
* 'ysel( (ell p$ey to ,ande$lust so'e yea$s a&o, desi$in& nothin& bette$ than to be a 1a&$ant
-loud s-uddin& be(o$e the ,ind. >nly last autu'n, a(te$ ha1in& d$i(ted alon& the seasho$e (o$
a ti'e, had * s,ept a,ay the old -ob,ebs ($o' 'y dilapidated $i1e$side he$'ita&e. But the
yea$ ended and be(o$e * kne, it, * (ound 'ysel( lookin& at haCy sp$in& skies and thinkin& o(
-$ossin& .hi$aka,a Ba$$ie$. V By the ti'e * had 'ended 'y to$n t$ouse$s, put a ne, -o$d on
'y hat, and -aute$iCed 'y le&s ,ith 'o0a, * ,as thinkin& only o( the 'oon at @atsushi'a.
K1
HOku no hosomi1hi
Re'ote and ethe$eal, the 'oon is a pe$(e-t ob2e-t o( -onte'plation, as -ountless ea$lie$ poets
had p$o1en. "o say that the desi$e to en2oy its li&ht is the (o$e'ost 'oti1ation (o$ any a-ti1ity
is to -lai' a (a'ilia$ dedi-ation to -on-e$ns that a$e al'ost ,holly aestheti-.
6l'ostHbut not all. Bo$ ,e should note that the sa'e de-la$ation also p$o-lai's an
a((iliation ,ith ea$lie$ poets, in-ludin& .ai&y and .&i and a host o( othe$s ,hose na'es
Bash d$ops $epeatedly. 6nd in othe$ ,ays too Bash9s t$a1el $e-o$ds -ontain &li'pses o( the
p$o(essional a((iliations that (o$'ed the p$i'a$y 'ate$ial and so-ial -onte0t o( his t$a1els. 6s
had been t$ue in the a&e o( .&i, &oin& on the $oad ,as (o$ any poet a ,ay to $ene,
a-?uaintan-es ,ith old students and pat$ons, as ,ell as -$eate ne, ones. 6nd i( this 'akes
hi' sound like an oroshiya, o$ t$a1elin& sales'an, * ,ould sub'it that the -o'pa$ison is not
enti$ely un(o$tunate. Bo$ ,e should not allo, the aestheti- p$eo--upations o( the 1e$ses ($o'
Nozarashi kik/ ?uoted abo1e to obs-u$e the (a-t that at least th$ee o( the' ,e$e o$i&inally the
hokku, o$ initiatin& 1e$ses, (o$ (ull se?uen-es, -o'posed in linkin& sessions in ,hi-h Bash
se$1ed as 'aste$, supe$1isin& a (e, o( his t$a1elin& -o'panions and lo-al a'ateu$s o( the
'e$-hant and sa'u$ai -lasses ,ho ,e$e -lea$ly pat$ons.
K2
7o$ should ,e in ou$ $ush to &et to
the poe's si'ply pass o1e$ passa&es like the (ollo,in& ($o' Oku no hosomi1hi:
6t >banaCa,a, ,e -alled on .ei(Q, a 'an ,hose tastes ,e$e not 1ul&a$ despite his ,ealth. 6s
a ($e?uent 1isito$ to the -apital, he unde$stood ,hat it 'eant to be a t$a1ele$, and kept us (o$
se1e$al days, t$yin& in 'any kind ,ays to 'ake us (o$&et the ha$dships o( the lon& 2ou$ney.
K3
#$e-isely ,hat Bash 'eans by sayin& that his pat$on .ei(Q D1!151J21E, ,ho' othe$ sou$-es
des-$ibe as a deale$ in silk, toba--o, $i-e, and dyes ,ith the lay na'e o( .uCuki, unde$stood
,hat it 'eant to be a t$a1ele$ ,e -annot be su$e+ but su$ely as a t$a1elin& poet Bash
e0pe-ted to be ,el-o'edH,ith $est, lod&in&, and (ood, at the least. 6nd ,e -an be su$e that
the$e ,e$e e0pe-tations o( .ei(Q9s side as ,ell. 4hile in >banaCa,a Bash ,ould en&a&e in
his o--upation by a-tin& as 'aste$ o( the a$t in sessions in1ol1in& .ei(Q and othe$ lo-al poets
and pat$ons. >( these sessions ,e ha1e only ($a&'ents, but ($a&'ents not so s'all as to
dis&uise all that is behind the'Hna'ely, the patte$ns o( Bash9s poeti- p$a-ti-e.
KK
7one o( this su$p$ises students o( Bash9s li(e, o( -ou$se+ s-hola$s ha1e al,ays kno,n that
Bash 1isited pat$ons on the $oad, and that as a poet he ,as in1ol1ed in the ,o$ld o(
-o''e$-e. @y point in d$a,in& attention to these a-ti1ities in this spe-i(i- -onte0t, ho,e1e$,
is to a$&ue that Bash9s $eti-en-e in t$eatin& ,o$ldly 'atte$s in his t$a1el $e-o$ds, and his
-o$$espondin& attention to le&end, histo$y, and aestheti- e0pe$ien-e, $esult less ($o'
happenstan-e o$ pe$sonal style than ($o' a p$o(essional i'pe$ati1e that is so'e,hat
p$edi-table. His style, in othe$ ,o$ds, is p$edete$'ined by a -ode inhe$ited ($o' the pastH
($o' .htetsu, .&i, and a host o( othe$sHbut also obse$1able in othe$ ti'es and pla-es, a
-ode that $e?ui$es those at the t$ue pinna-le o( the p$o(ession to $ep$esent the'sel1es as
ope$atin& ($o' hi&h 'oti1es o( alt$uis', o$ &lo$y, o$ o( 'o$al, spi$itual o$ aestheti-
-o''it'ent, $athe$ than (o$ 'undane &ain. 7ot su$p$isin&ly, this ideolo&i-al -o1e$in& is
seen $athe$ $outinely in 'any p$o(essions until this day.
K5
7o,, this sa'e ideolo&y is o( -ou$se obse$1able in Bash9s a-ti1ities ba-k in ;do as ,ell. But
it is in the natu$e o( t$a1el $e-o$dsHespe-ially so in thei$ p$ose se-tionsHto $e1eal both 'o$e
-$a-ks in the aestheti- su$(a-e and 'o$e o1e$t state'ents o( p$o(essional ideolo&y, as in the
(ollo,in& ($o' the be&innin& o( Oi no ko!umi:
4ithin the hund$ed bones and nine o$i(i-es o( 'y body is so'ethin& that * ,ill &i1e the na'e
Bu$abHthe @onk o( /ossa'e$ on the 4ind: ,hi-h is to say that it is a thin (ab$i- easily
to$n by the ,ind. .in-e lon& a&o Bu$ab has lo1ed 'ad 1e$ses, e1entually 'akin& the' the
'eans o( its ,ay th$ou&h li(e. .o'eti'es it &$e, ti$ed o( poet$y and al'ost -ast it aside+ othe$
ti'es it ,as -au&ht up in p$ide, thinkin& it had t$iu'phed o1e$ othe$s. *n its b$east a -on(li-t
$a&ed, (o$ ,hi-h its body su((e$ed. Bo$ a ,hile it sou&ht to establish itsel(, but ,as p$e1ented+
then it studied in o$de$ to $ealiCe its i&no$an-e, only to be de(eated on-e 'o$e, endin& up
(ollo,in&H,ithout skill, ,ithout talentHthis one lone ,ay. "he 7aka o( .ai&y, the renga
o( .&i, the paintin&s o( .esshQ, the tea o( RikyQHthe thin& that $uns th$ou&h all o( these is
one and the sa'e. Bo$ ele&an-e (ollo,s -$eation, be($iends the (ou$ seasons. 4hat it seesH
ne1e$ is that not a (lo,e$+ ,hat is thinks o(Hne1e$ is that not the 'oon. *( the (o$' be not a
(lo,e$Hthat is the sa'e as bein& a ba$ba$ian+ i( the hea$t be not a (lo,e$Hthat is to be
a'on& the bi$ds and beasts. /o out ($o' a'on& the ba$ba$ians, depa$t ($o' the beastsS
Bollo, -$eation, $etu$n to -$eation.
K!
6ny student ,ho has thou&ht about p$o(essions as so-ial institutions ,ill not 'iss the si&ns o(
spe-ial pleadin& at ,o$k in this (a'ous passa&e, in ,hi-h the poet p$esents hi'sel(Hin te$'s
that al'ost deny hi' any 1olition in the 'atte$Has dedi-ated to beauty, to the &$eat poets o(
the past and thei$ hi&h ideals, and to the ulti'ate le&iti'iCin& po,e$ o( natu$e, ,hile (ailin& to
'ake any 'ention o( the 'o$e 'undane (eatu$es o( his p$a-ti-e. 7o$ ,ill that student be
su$p$ised to $ead the senten-e and poe' that i''ediately (ollo, the passa&e:
6t the be&innin& o( the &odless 'onth the skies ,e$e unsettled, and * (elt like a lea( on the
,ind, destination unkno,n.
6 t$a1ele$H
by that na'e ,ill * be -alled,
a'idst (i$st sho,e$s.DKJE
*t need ha$dly be said that the de(inition o( t$a1el p$esented he$e is -ent$al to Bash9s
p$o(essional aspi$ations. 6s Bou$dieu 'i&ht say, the a'ount one is $eady to su((e$ is the
'easu$e o( one9s -o''it'entHa-kno,led&ed o$ not. 8lea$ly, Bash ,as $eady to a--ept
the sa-$i(i-es that a$e i'plied by p$i1ile&e.
K8
His de1otion to the p$o(essionHo$ at least to its
idealiCed i'a&eH,as total. 6nothe$ passa&eHthis one ($o' Oku no hosomi1hiHsays it all:
4e lod&ed the ni&ht at *iCuka V "hunde$ $u'bled du$in& the ni&ht, and $ain (ell in to$$ents.
4hat ,ith the $oo( leakin& $i&ht o1e$ 'y head and the (leas and 'os?uitoes bitin&, * &ot no
sleep at all. "o 'ake 'atte$s ,o$se, 'y old -o'plaint (la$ed up, -ausin& 'e su-h a&ony that *
al'ost (ainted.
6t lon& last, the sho$t ni&ht ended and ,e set out a&ain. .till (eelin& the e((e-ts o( the ni&ht, *
$ode a $ented ho$se to A$i poststation. *t ,as unsettlin& to (all p$ey to an in(i$'ity ,hile so
&$eat a distan-e $e'ained ahead. But * told 'ysel( that * had delibe$ately planned this lon&
pil&$i'a&e to $e'ote a$eas, a de-ision that 'eant $enoun-in& ,o$ldly -on-e$ns and (a-in& the
(a-t o( li(e9s un-e$tainty. *( * ,e$e to die on the $oadH1e$y ,ell, that ,ould be Hea1en9s
de-$ee.
K9
"he$e is no $eason to doubt the $eality o( the pain that Bash des-$ibes he$e, no$ the st$en&th
o( the $esol1e that he a$ti-ulates, any 'o$e than the$e is a $eason to deny the po,e$ and beauty
o( his poe's, ,hate1e$ thei$ status as pa$t o( his p$a-ti-e. But ,e should at least $e-o&niCe
that ,hat he is -o''uni-atin&, to his o,n students, as ,ell as to the ,hole haikai p$o(ession
and beyond, is a pa$ti-ula$ kind o( $esol1e that is ideolo&i-ally si&ni(i-ant: a p$o(essional
$esol1e that is 'eant to -onne-t hi' ,ith the Wlite o( the past and to sho, his ,o$thiness to be
-ounted in thei$ nu'be$ in the p$esent. Bo$ su-h dedi-ation ,as 1i$tually a p$e$e?uisite (o$
anyone aspi$in& to ulti'ate (a'e. 4hat looks like sel(denial, e1en i( the sel(denial is
sin-e$e, e1en i( it is sel(delusionHis in (a-t, then, also a -lai' (o$ spe-ial status. "$a1el in the
late se1enteenth -entu$y ,as not as dan&e$ous as it had been (o$ .&i+ but it ,as, in
ideolo&i-al te$'s, still a $ite o( passa&e that had to be $ep$esented as entailin& ha$dship.
*t is i'po$tant to note that &oin& on the $oad did, ?uite lite$ally, in1ol1e t$ials: p$o(essional
$ites o( passa&e need not be e'pty o( $eal -hallen&e in o$de$ to (un-tion as $ites o( passa&e. "o
bo$$o, the ,o$ds o( .a'uel 4ebe$ ,$itin& about p$o(essionals o( anothe$ ti'e and pla-e, the
$oad ,as an a$ena o( $eal st$u&&leHthe st$u&&le to assi'ilate the sho-ks and int$usions o(
e0pe$ien-e a--o$din& to -on1entions.
5%
But the point is that the t$ials ,e$e not an i'pedi'ent
to Bash9s pu$poses+ they ,e$e pa$t and pa$-el o( those pu$poses. "hus, as he t$a1eled,
Bash9s -o'peten-e as a 'aste$ o( poet$y ,as -ontinually testedHin linkin& sessions ,he$e
he had to sho, his leade$ship skills, his -o''and o( $ules and -on1entions, and his -$eati1e
-apa-ities in a ,ay that 2usti(ied both the app$op$iateness o( his position as a p$o(essional and
the app$op$iateness o( his -o'panions as dis-iples o$ lay'en+ in en-ounte$s ,ith (a'ous
pla-es that de'anded skill(ul poeti- $esponses, in addition to a tho$ou&h kno,led&e o( the
$esponses o( p$ede-esso$s in the p$o(ession+ and, not least i'po$tantly, in the -on1e$sion o(
the $a, 'ate$ial o( e0pe$ien-e into a t$a1el 2ou$nal that ,ould be 2ud&ed a&ainst ea$lie$ ,o$ks
as pa$t o( the atte'pt (o$ lastin& $eputation. *n this sense, a kno,led&e o( the patte$ns o(
p$o(essional -on1entions that &a1e st$u-tu$e to his p$a-ti-e is no 'o$e su((i-ient to e0plain his
pla-e in histo$y than is a kno,led&e o( the $ules o( his &en$e o( linked 1e$se su((i-ient to
a--ount (o$ the e0-ellen-e o( his poet$y. But notin& those patte$nsHpatte$ns al'ost ne1e$
e0pli-itly $e1ealedHis still ,o$th,hile (o$ the ne, 1anta&e point it a((o$ds those -on-e$ned
,ith Bash and his ,o$ld.
4hat, then, -an an analysis o( Bash as a p$o(essional o((e$= Bi$st, it -an help us see the
patte$ns o( his e0isten-e in te$'s o( the institutions in ,hi-h he pa$ti-ipated. Re'e'be$in&
that he ,as a p$o(essional ,hose p$a-ti-e ,as in 'any ,ays like the p$a-ti-e o( othe$
p$o(essionals 'ay help us unde$stand his e0isten-e 'o$e -o'pletely. *t 'ay help us to see
that his poe's and othe$ ,$itin&s ,e$e not p$odu-ed o$ $ead solely as aestheti- a$ti(a-ts, but
also as state'ents o( status ,ithin a lite$a$y -o''unity that ,as so-ially -onstituted, ,ith its
o,n a&endas. *t ,ill also sho, that his ,o$ksH'eanin& the a$ti(a-ts he le(t behindH
should not be $e&a$ded as (ully identi-al ,ith his p$a-ti-e. ;1e$y linked1e$se se?uen-e ,as in
the be&innin& a so-ial e1ent, albeit one that o(ten $e'ains (o$ us i'possible to $e-onst$u-t
(ully.
.o the p$o(ession Bash -hose (o$ hi'sel( ,as -onstituted by st$ati(i-ations and hie$a$-hies
,ithin ,hi-h he opted at a -e$tain point (o$ the ulti'ate distin-tion, p$obably kno,in& the
-hallen&es and loyalties su-h a -hoi-e ,ould entail. 6'on& othe$ thin&s, this 'eans that ,e
-annot a&$ee ,ith those ,ho see a desi$e (o$ ($eedo'Hat least in the nai1e senseHas the t$ue
'oti1e (o$ his t$a1els any 'o$e than ,e -an see a desi$e (o$ ($eedo' as the 'oti1e behind his
de-ision to lea1e 7ihonbashi (o$ Buka&a,a.
51
*n (a-t, his 'oti1e in &oin& on the $oad 'ay
ha1e been, in a ,ay, the oppositeHto e0e$t autho$ity sy'boli-ally an* 'ate$ially, b$in&in&
ne, students unde$ his s,ay and sub2e-tin& ne, spa-es to his po,e$.
52
He ,as, a(te$ all, a
@aste$. 6nd this also 'eans that ,e should not be su$p$ised to (ind hi' adoptin& a
-onse$1ati1e attitude on i'po$tant lite$a$y issues o( his day, e0plainin& ,hy, in -ont$ast to
.aikaku, (o$ instan-e, he tu$ned so $esolutely a,ay ($o' the ne, u$ban 'a$ket that
in-$easin&ly de'anded lite$atu$e as ente$tain'ent $athe$ than a tool (o$ the edu-ation o( the
sensibility+ o$ ,hy he adhe$ed so stead(astly to the -lassi-al -anon o( a$isto-$ati- lite$atu$e,
-onde'nin& as 1ul&a$ e1en $e-ent poets in his o,n &en$e su-h as @atsuna&a "eitoku and
7ishiya'a .in.
53
Binally, to $etu$n to his t$a1el $e-o$ds. * belie1e that a -onside$ation o( Bash9s pla-e in the
lite$a$y hie$a$-hy o( his day ,ill help us see his 'aste$y in te$'s that situate hi' and his
p$o(ession 'o$e -lea$ly in the dis-ou$ses o( his ti'e. His insisten-e on the identity o( $i-e
plantin& son&s ,ith the la$&e$ poeti- t$adition, his -a$e(ul notin& o( the une0pe-ted $e(ine'ent
o( 1illa&e u$-hins o$ (a$',i1es, his p$aise (o$ the inhe$ent honesty o( innkeepe$s o$ $u$al
&uides: all o( these thin&s, 1ie,ed in the -onte0t o( the st$ate&ies that le&iti'iCed his
p$o(ession, ,ill be seen no lon&e$ as ?uaint -ha$a-te$iCations o$ 1ehi-les o( style but $athe$ as
a$ti-ulations o( a -onse$1ati1e dis-ou$se ,hose &enealo&y -an be t$a-ed ba-k at least as (a$ as
Ai no "su$ayuki. 7ot su$p$isin&ly, the pe$-ei1ed -ontou$s o( that dis-ou$se su--eeded in
keepin& poet$y out o( debatesHo1e$tly, at leastHon politi-s, ethi-s, and othe$ issues o( 1alue
by &$antin& it a pla-e outside the $eal' o( 'o$e en&a&ed dis-ou$ses. 3ud&in& ($o' the
,ay Bash and othe$ p$o(essional poets a$e still analyCed, one 'ust say that that st$ate&y has
su--eeded. Bo$ s-hola$s dealin& ,ith lite$a$y te0tsHand * in-lude 'ysel( he$eHha1e lon&
$esisted the idea o( $edu-in& poet$y to the status o( politi-al $heto$i- o( the so$t one (inds in
the popula$ 'edia.
5K
But to deny poet$y any pla-e in the la$&e$ dis-ou$ses o( its ti'e is
si'ply to deny its po,e$ in anothe$ ,ay. Bash and othe$ poets do thei$ best to keep thei$ a$t
sa(ely in the 'a$&ins, e0e'pt ($o' -e$tain kinds o( s-$utiny, al'ost de'andin& to be 1ie,ed
by ,hat Bou$dieu -alls the pu$e &aCe,
55
i( ,e insist on lea1in& it the$eHlea1in& the -$o, in
his ba$e t$eeH,e end up ha1in& to i&no$e the i'pli-ations o( state'ents like this, taken ($o'
a des-$iption o( his 1!89 1isit to 7ikk, the (une$al sh$ine o( the $ei&nin& "oku&a,a -lan:
>n the (i$st day o( the (ou$th 'onth, ,e ,ent to ,o$ship at the sh$ine. *n anti?uity, the na'e
o( that holy 'ountain ,as ,$itten 7iksan X",o.to$' @ountainY, but the /$eat "ea-he$
AQkai -han&ed it to 7ikk X.unli&htY ,hen he (ounded the te'ple. *t is al'ost as thou&h the
/$eat "ea-he$ had been able to see a thousand yea$s into the (utu$e, (o$ today the sh$ine9s
$adian-e e0tends th$ou&hout the $eal', its bene(i-en-e o1e$(lo,s in the ei&ht di$e-tions, and
the (ou$ -lasses o( people d,ell in se-u$ity and pea-e. "his is an a,eso'e sub2e-t o( ,hi-h *
shall ,$ite no 'o$e.
6h, a,eso'e si&htS
>n su''e$ lea1es and sp$in& lea1es,
the $adian-e o( the sunSD5!E
"he t$ees he$e, so to speak, a$e not ba$e, but (ull o( so-ial and ideolo&i-al si&ni(i-an-e. *s this
an endo$se'ent o( the sho&unal institution= >( its do&'as= #e$haps so+ pe$haps not. "he
?uestion o( -ou$se needs (u$the$ analysis. * a' su&&estin& that one ,ay to be&in this p$o-ess
is to say, (i$st, that Bash the p$o(essional poet 'ust ha1e $e-o&niCed an ideolo&i-ally
-onstituted a((iliation ,ith the /$eat "ea-he$, and, se-ond, that study o( the dyna'i-s o( othe$
p$o(essions should 'ake us pay spe-ial attention ,hen any p$o(essional 'a$ks a sub2e-t so
holy that about it he ,ill ,$ite no 'o$e. * do this not to debunk but to de'ysti(y, o$ in othe$
,o$ds, to be&in to unde$stand the so-ioe-ono'i- ,o$ld in ,hi-h Bash ope$ated as a poet,
and the ideolo&i-al and so-ial di'ensions o( his p$o(essional 7ork in ,ays not do'inated by
those t$a-es ,e a$e a--usto'ed to -allin& his a$t.
Notes
1. <eda @akoto, Bash/ an* His Interpreters: $ele1te* Hokku 7ith 8ommentary
D.tan(o$d: .tan(o$d <ni1. #$ess, 1992E, 53.
2. * ha1e (ound the (ollo,in& help(ul in thinkin& th$ou&h the ?uestion o( ho, the te$'
p$o(essional 'i&ht be -on-eptualiCed ,hen applied to late 'edie1al and ea$ly
'ode$n 3apan: @a&ali .a$(atti 5a$son, 'he .ise of 5rofessionalism: A $o1iologi1al
Analysis DBe$keley and 5os 6n&eles: <ni1. o( 8ali(o$nia #$ess, 19JJE: @i-hael
Bu$$a&e and Rol( "o$stendahl, 5rofessions in 'heory an* History: .ethinking the
$tu*y of the 5rofessions D5ondon: .a&e #ubli-ations, 199%E+ .a'uel 4ebe$,
Institution an* Interpretation D@inneapolis: <ni1. o( @innesota #$ess, 198JE+ #ie$$e
Bou$dieu, ,anguage an* $ym!oli1 5o7er, t$. /ino Ray'ond and @atthe, 6da'son
D8a'b$id&e, @ass.: Ha$1a$d <ni1. #$ess, 1991E+ ide'. Distin1tion: A $o1ial 8ritiKue
of the 2u*gement of 'aste, t$. Ri-ha$d 7i-e D8a'b$id&e, @ass.: Ha$1a$d <ni1. #$ess,
198KE.
3. Bash9s -ons-iousness o( .&i as a 'odel is appa$ent in his (a'ous hokku:
"o &$o, old is enou&hH
and then to ha1e to ,at-h sho,e$s
($o' .&i9s hut.
and ($o' $e(e$en-es in his t$a1el $e-o$ds. .ee belo,.
K. 4ebe$, 25.
5. Robe$t H. B$o,e$ and .te1en :. 8a$te$, 8on-ersations 7ith $h/tetsu D6nn 6$bo$:
8ente$ (o$ 3apanese .tudies, <ni1. o( @i-hi&an, 1992E, 1K2.
!. *bid., 119.
J. *bid., 1%K.
8. *bid., 122.
9. *bid., 1KK.
1%. *bid., 1KJ.
11. .ee ibid., 2!3%, (o$ details.
12. >ne -ould a$&ue that this step ,as not a1ailable in the sa'e ,ay (o$ -ou$tie$ poets,
,hose $ole in the bu$eau-$ati- syste' 'ade ,ithd$a,al p$o(essionally i'possible. Bo$
an analysis o( the pheno'enon o( se'i$e-lusion in 3apanese Ien that helps 'ake
sense o( .htetsu9s a-tions, see 3oseph :. #a$ke$, "he He$'it at 8ou$t: Re-lusion in
;a$ly Bi(teenth8entu$y 3apanese Ien Buddhis', 2ournal of 2apanese $tu*ies, 21.1
D1995E.
13. B$o,e$ and 8a$te$, !1!2.
1K. .te1en :. 8a$te$, T.eekin& 4hat the @aste$s .ou&htU: @aste$s, :is-iples, and #oeti-
;nli&hten'ent in 5ate @edie1al 3apan, 'he Distant Isle: $tu*ies an* 'ranslations of
2apanese ,iterature in Honor of .o!ert H( Bro7er D6nn 6$bo$: 8ente$ (o$ 3apanese
.tudies, <ni1. o( @i-hi&an, 199!E.
15. 6lthou&h both "onna and Aenk ,e$e opponents in the sense that they ,e$e de1otees
o( the 7i2 s-hool at -ou$t, .htetsuHp$edi-tablyHsho,s $espe-t (o$ both as
p$o(essionals. .ee 8a$te$ and B$o,e$, !8, 959!, 1%5!, 1!3.
1!. .tylisti-ally, this t$ans-enden-e 'ay ha1e a -o$$elati1e in the ideal o( y0gen, o$
'yste$y and depth, that .htetsu a$&ues is so'ethin& that -annot possibly be
e0plained in ,o$ds o$ distin&uished -lea$ly in the 'ind. B$o,e$ and 8a$te$, 1!1!2.
1J. Bou$dieu, ,anguage an* $ym!oli1 5o7er, 11J2!.
18. *bid.
19. .ee .te1en :. 8a$te$, 'hree 5oets at 4uyama DBe$keley: *nstitute o( ;ast 6sian
.tudies, <ni1. o( 8ali(o$nia, 1983E, 123K.
2%. .&i studied ,ith both .Cei and .hinkei. *n the 1KJ%s he put to&ethe$ an antholo&y o(
linked 1e$se by those and se1e$al othe$ p$o'inent students o( .htetsu9s, entitled
8hikurinsh/( "hat a dis-iple o( the -onse$1ati1e " no "suneyo$i D1K%18KE should
unde$take su-h a labo$ on behal( o( poets su-h as .hinkei ,ho ,e$e o( the opposite
-a'p is (u$the$ e1iden-e o( the ,ay p$o(essional loyalties o(ten t$ans-end
philosophi-al o$ stylisti- di((e$en-es.
21. ;a$lie$ -o''issione$s had stayed 'u-h lon&e$, .Cei (o$ si0 yea$s, 7a D139J1KJ1E
(o$ (ou$teen yea$s, and .i D1K1885E (o$ at least a de-ade. .&i9s su--esso$, Aensai
D1K52151%E, also held the o((i-e (o$ 'o$e than a de-ade.
22. His last pe$sonal -olle-tions appea$ed in 1K9! and 1K99, and $hinsen tsuku!ash0 D"he
7e, "sukuba 8olle-tionEHan i'pe$ially -o''issioned antholo&y (o$ ,hi-h .&i
,as &i1en -hie( $esponsibilityH,as sub'itted (o$ i'pe$ial $e1ie, in 1K95. :u$in& his
(inal yea$s he also tau&ht a nu'be$ o( students, le-tu$ed in the -apital and in the
p$o1in-es on the -ou$t -lassi-s, and -ontinued to a-t as 'aste$ at nu'e$ous linked
1e$se sessions.
23. His t$a1els took hi' to .ettsu,L'i, ;-hi&o, ;-hiCen, Aii, and also the Aant.
2K. "he date &i1en (o$ t$ans'ission o( the se-$ets is 1!JK.
25. Gonetani *,ao, Bash to sono 2idai, in Bash/, ed. *'oto 7i-hi, 1ol. 28 o( ansh/
Nihon koten !ungaku D"okyo: Aadoka,a .hoten, 19J5E, K3!.
2!. "akano GQCan Dd. 1J%2E.
2J. .ee 6be @asa'i, K!5, KJ2, and Aon ;iC, Bash no seikaku, in Bash/ kush0, 1ol.
51 o( $hin1h/ nihon koten sh0sei D"okyo: .hin-hsha, 1982E, 3!!.
28. *t appea$s, (o$ instan-e, that his dis-iples lite$ally p$o1ided hi' ,ith a hut and ,ith
(oodHas &i(ts $athe$ than pay'ents.
29. "atsuo !ash/ sh0, ed. *'oto 7i-hi et al., 1ol. K1 o( Nihon koten !ungaku zensh0
D"okyo: .h&akkan, 19J2E, !1.
3%. .ee Randal 8ollins, @a$ket 8losu$e and the 8on(li-t "heo$y o( the #$o(essions, in
Bu$$a&e and "o$stendahl, 2!29.
31. 4e kno, that by 1!83 Bash ,as li1in& in a tene'ent apa$t'entHstill $e(e$$ed to as
a hutHpu$-hased by students.
32. 4ebe$, 2J.
33. "he desi$e to &$ant ,$ite$s independen-e ($o' so-iopoliti-al -ontests 'ay o( -ou$se
a$ise ($o' a desi$e (o$ a si'ila$ status a'on& s-hola$s the'sel1es. .ee .-ott 4ilson,
8ultural "aterialism: 'heory an* 5ra1ti1e D8a'b$id&e: Bla-k,ell, 1995E, K8.
3K. 8(. 4ebe$ and 8ollins.
35. "o -on(late p$a-ti-e ,ith a$ti(a-ts is pa$ti-ula$ly -onst$i-tin& in the -ase o( haikai
poets, ,hose ,o$ks a'ount to only a skeletal $e-o$d o( thei$ p$o(essional a-ti1ities.
3!. Helen 8$ai& @-8ullou&h, t$., "he 7a$$o, Road o( the *nte$io$, in 8lassi1al
2apanese 5rose D.tan(o$d: .tan(o$d <ni1. #$ess, 199%E, 522.
3J. "$. 8a$te$.
38. "$. 8a$te$.
39. "$. 8a$te$. "eishitsu D1!1%J3E ,as a dis-iple o( @atsuna&a "eitoku D15J11!53E. "he
@iddle 8ounselo$ o( his poe' $e(e$s to 6$i,a$a no Gukihi$a D818893E, the autho$
o( a (a'ous poe' about .u'a.
K%. "$. 8a$te$.
K1. @-8ullou&h, 522.
K2. "he (i$st 1e$se ,as -o'posed (o$ a session in1ol1in& the 7a&oya 'e$-hants 3Q&o Dd.
1J1JE, Gasui Dd. 1JK3E, and "okoku Dd. 1!9%E+ the thi$d 1e$se (o$ one in1ol1in&
h&etsu+ and the last one (o$ one in1ol1in& "y Dd. 1J12E, a $i-h 'an o( 6tsuta 8ity.
>ne o( Bash9s -o'panions at the ti'e ,as Boku9in D1!K!1J25E, a ,ealthy shippe$
($o' nea$by L&aki.
K3. @-8ullou&h, 539.
KK. Bash $e-o$ds (ou$ hokku ,$itten du$in& his ti'e ,ith .ei(Q, th$ee by hi'sel( and one
by .o$a. 4e kno, ($o' othe$ sou$-es that he also pa$ti-ipated in a nu'be$ o( haikai
renku se?uen-es.
K5. .ee 8ollins, 35.
K!. "$. 8a$te$.
KJ. "$. 8a$te$.
K8. Bou$dieu, ,anguage an* $ym!oli1 5o7er, 122.
K9. @-8ullou&h, 531.
5%. 4ebe$, 23.
51. Gonetani, KK1.
52. .ee 4ebe$, 1832, (o$ an analysis o( p$o(essional -on1entions that d$a,s on #ei$-e
and B$eud to see those -on1entions as a 'eans o( -o'bat an0iety and the (ea$ in1ol1ed
in -on($ontations ,ith alte$ity.
53. Bo$ Bash9s -$iti-is's o( .aikaku, see Gonetani, KK2. 7o doubt the -a$ee$ o( .aikaku,
too, -ould be analyCed in the -onte0t o( p$o(essional patte$ns, but it see's -lea$ that in
optin& (o$ the ne, &en$e o( (i-tion he ,as openly e'b$a-in& -o''e$-e in ,ays that
Bash did not. Bo$ an a$ti-le that deals ,ith a si'ila$ histo$i-al pe$iod and si'ila$
p$o(essional -hoi-es, see .ie&($ied 3. .-h'idt, 8on1entions and 5ite$a$y .yste's, in
.ules an* 8on-entions, ed. @ette H2o$t DBalti'o$e: 3ohns Hopkins <ni1. #$ess,
1992E.
5K. * should ad'it also a desi$e to a1oid t,o othe$ kinds o( $edu-ti1is' pointed out by
@i-hael Bu$$a&e, Aon$ad 3a$aus-h, and Hannes .ie&$ist, in 6n a-to$based
($a'e,o$k (o$ the study o( the p$o(essions, an essay in-luded in Bu$$a&e and
"o$stendahl. "he (i$st they des-$ibe as a tenden-y, de$i1ed ($o' nai1e $eadin&s o(
Bou-ault, to t$eat the p$o(essions as Ta (ield o( dis-ou$seU, as thou&h they ,e$e
do'inated by dis-iplina$y -on-e$ns and ne1e$ had to p$a-ti-e thei$ p$o(ession Dp.
21!E. "he se-ond, not un$elated to the (i$st, is to t$eat p$o(essionals as 'e$e a&ents o(
$ep$ession ,ho en2oy e0-essi1e po,e$ and p$i1ile&es and ,hose ethi-al -odes a$e
bo&us and a -o1e$ (o$ the pu$suit o( thei$ 'ate$ial inte$ests and so on Dp. 223E.
55. .ee Bou$dieu, Distin1tion(
5!. @-8ullou&h, 525.