A Break Room

A Break Room with Photos and Haiku Poems

Haiku Poems


In the compelling part of Fushidansekkyo the characteristics of the Japanese language is made the most of on the underlying rhythm in seven-and-five syllable meter, that is, Shichigocho. (cf. (60) in my Notes) Haiku in Japanese is also in seven-and-five syllable meter (5-7-5). Does the rhythmic utterance in seven-and-five syllable meter stir something in you? In what rhythm do the characteristics of your mother tongue shine the most?

In dem beeindruckende Teil von Fushidansekkyo, wird die Eigenschaften der japanischen Sprache im vollsten Umfang auf dem zugrundeliegenden Rhythmus in sieben-und-fünf Silben, das heißt Shichigocho, verwendet. Haiku auf japanisch ist auch in sieben-und-fünf Silben (5-7-5). Rührt die rhythmische Äußerung in sieben-und-fünf Silben etwas in Ihnen? In was für einem Rhythmus glänzen die Eigenschaften Ihrer Muttersprache am meisten?

In Japanese, Shichigocho
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A haiku by Horst Ludwig
In Japanese, Horst Ludwig's haiku

Früh am Neujahrstag:

Ruhig verläßt die Fähre

das Hafenbecken.


I am grateful to Prof. Horst Ludwig for this lucid, beautiful text and his permission to have it on www.hdever.com. The poetic quality of his Neujahrsfähren-Haiku is probably not all expressed by my rendering. So I encourage you to take in directly the quintessence of his poetry in German and appreciate it.

A background image description: Boats and a bridge.


The works of Charlie Smith
In Japanese, Charlie Smith's work

O fairest woman

just ask and I shall give you

song of Solomon

His Web page "CHARLIE OJI-SAN NO HAIKU"
on the Web site of North Carolina State University
http://www4.stat.ncsu.edu/~bmasmith/HAIKU/

I am grateful to Prof. Charles Smith (Charlie Smith) for his inspired haiku and his permission to have his work on www.hdever.com.

A background image description: A Japanese cherry blossom floating in a cup of sake.

A Delightful Bonus : "A Tongue Twister to warm up your tongue" received on February 10, 2006.
- I omit the story (introductory) part which leads to the tongue twister. Please picture a Harry-Potter-esque world in your mind eyes.

... so her question was :
which wild wicked whining witch watched which wick wither while whittling with wizened wizards?
(say 3 times fast and your tongue will be warmed up)

Charlie-san, Thank you very much for the tongue twister! (I often think that those who made tongue twisters were sort of poetical geniuses. Hitomi)

Another Web page of his, "Charlie Smith - FUN STUFF,"
on the Web site of North Carolina State University
http://www4.stat.ncsu.edu/~bmasmith/funstuff.html


Haiku by Charlie Smith

iki no ii

sakura no sanpo

chocho odoru

Note by Charlie Smith

iki no ii 5 (slow energizing)

sakura no sanpo 7 (walk under cherry blossoms)

chocho odoru 5 (butterflies dancing)

A background image description: A close-up view of Japanese cherry blossoms from EyesPic (hereinafter omitted,
for I have purchased the EyesPic Stock Photo CD-ROMs from EyesArt Inc., and started
using the images included in the CD-ROMs) with modifications by www.hdever.com.


I thank to Mr. Takahashi, Director of EyesArt Inc. (Hiroshima, Japan), for offering the free photo materials.

Japanese page of EyesPic of EyesArt Inc. http://eyes-art.com/pic/

English page of EyesPic of EyesArt Inc. http://en.eyes-art.com/

(They have more pictures of Japanese cherry blossoms on their Web site.)


This is a Break Room of the Web site the theme of which is "Centering upon Fushidansekkyo." There are only some Haiku poems by the Haiku poets from the Late Muromachi period to the Late Edo period in Japan (Basho, Buson, Chiyoni, Issa, Kyorai, Kyotai, Onitsura, Sokan, Taigi, and Yaba. See A brief mention of each of the Haiku poets — his or her pseudonym, autonym, literary style, etc.) as examples for the Kigo words on this page.
If you would like to appreciate good Haiku poems, please visit Mr. Smith's Web page, the URL of which is given above.

Dieses ist ein Erfrischungsraum der Website, von dem Thema „zentriert nach Fushidansekkyo.“ Es gibt nur einige Gedichte der Haiku-Dichter von dem Spät-Muromachi Zeitalter bis das Spät-Edo Zeitalter in Japan (Basho , Buson , Chiyoni , Issa , Kyorai , Kyotai , Onitsura , Sokan , Taigi , Yaba ) als Beispiele für den Kigo Worte auf dieser Seite.
Wenn Sie gute Haiku Gedichte genießen möchten, besuchen Sie bitte die obengenannte Webpage Herrn Smiths.

In Japanese, If you would like to appreciate good Haiku poems

Also, please visit Ms. Wienert's "haiku-shelf" and the "World Haiku Review: Language By Language: WHC-German" Web pages, the URLs of which are given below, and appreciate the works of Haiku authors in the quarterly online publications of the WHC-German.

Besuchen Sie bitte auch die untengenannten Weblogs Frau Wienerts und „WHC-German.“

haiku-shelf
of Haikuist Angelika Wienert  http://haiku-shelf.blogspot.com/

Angelika Wienert ed., Winter Issue of World Haiku Club
If you would like to appreciate good Haiku poems for wintertime, please visit a Blog page that includes the online Winter Issue of the World Haiku Club written both in German and English, "World Haiku Review: Language By Language: WHC-German, Winter 2007/2008," the editor of which is Ms. Angelika Wienert, a noted Haikuist in Germany. Ms. Wienert also maintains her Weblog "haiku-shelf" in German and English. (January 5, 2008)
"World Haiku Review: Language By Language: WHC-German, Winter 2007/2008"
http://athenaeum-language.blogspot.com/2008/01/whc-german-winter-20072008.html
Wenn Sie gute Haiku Gedichte für die Winterzeit genießen möchten, besuchen Sie bitte die obengenannte Blogpage, deren Bearbeiter Frau Angelika Wienert, ein bekannter Haiku Dichiter, ist. Frau Wienert verwaltet auch ihren Weblog „haiku-shelf.“ (5. Januar 2008)
A background image description: A withered yellow leaf is in the new-fallen snow.
In Japanese, World Haiku Club and Ms. Angelika Wienert
A background image description: The sunset turns the cherry blossom a pink hue as well as the whole sky.

In Japanese, WHC-German Spring Issue 2008

Haiku authors (in the order of appearance of their works in the above spring issue edited by Frau Angelika Wienert):
Herr Franz-Christoph Schiermeyer/Frau Claudia Brefeld, Frau Christa Beau, Herr Dirk Becker, Herr Wolfgang Beutke, Herr Gerd Börner, Herr Ingo Cesaro, Frau Beate Conrad, Frau Zorka Cordasevic, Herr Michael Denhoff, Frau Roswitha Erler, Herr Mario Fitterer/transl. Frau Gene D. Rollins, Herr Volker Friebel, Frau Sylvia Hagenbach, Frau Ilse Jacobson, Frau Silvia Kempen, Herr Franz Kratochwil, Frau Jean-Claude Lin, Frau Ramona Linke, Herr Horst Ludwig, Frau Claudia Melchior, Herr Michael Mintel, Frau Edith Muta, Frau Marion Naumann d´Alnoncourt, Herr Rudi Pfaller, Herr René Possél, Frau Sonja Raab, Frau Gabriele Reinhard, Herr Bernd Reklies, Frau Helga Stania, Frau Heike Stehr, Herr Dietmar Tauchner, Herr Hubertus Thum, Herr Udo Wenzel, Herr Klaus-Dieter Wirth, and Herr Heinz Wöllner.

And the "Haibun Today"!  Und „Haibun Today“!

My mind goes out to the "piazza," with all these beautiful dialogue-scape and word-scape before me, which emerge in Frau Angelika Wienert's haibun entitled "PIAZZA TALE" and are going to be condensed into a Haiku poem at the end.

"Angelika Wienert: PIAZZA TALE" published at the Haibun Today on Wednesday, April 30, 2008
http://haibuntoday.blogspot.com/2008/04/angelika-wienert-piazza-tale.html

Angelika Wienert ed.,
Summer Special (WHC-German),
June 2008 -- Udo Wenzel
A background image description: Sacred lots called Omikiji are bound on (tied around) the tree branch.

In Japanese, WHC-German Summer Special Issue 2008


Angelika Wienert ed.,
Autumn Issue of World Haiku Club - German
A background image description: The scarlet-tinged Momiji (Japanese maple) leaves.

In Japanese, WHC-German Autumn Issue 2008

Haiku authors (in the order of appearance of their works in the above autumn issue edited by Frau Angelika Wienert):
Frau Christa Beau, Herr Wolfgang Beutke, Herr Gerd Börner, Frau Claudia Brefeld, Herr Ralf Bröker, Frau Gabriele Brunsch, Herr Ingo Cesaro, Frau Beate Conrad, Frau Zorka Cordasevic, Herr Michael Denhoff, Frau Bernadette Duncan, Frau Roswitha Erler/Frau Madlen Schulze, Herr Volker Friebel, Frau Heike Gewi, Frau Sylvia Hagenbach, Herr Arno Herrmann, Frau Ilse Jacobson, Frau Silvia Kempen, Herr Franz Kratochwil, Herr Roger Le Marié, Frau Jean-Claude Lin, Frau Ramona Linke, Herr Horst Ludwig, Herr Walter Mathois, Frau Claudia Melchior, Frau Edith Muta, Frau Marion Naumann d´Alnoncourt, Herr René Possél, Frau Sonja Raab, Frau Gabriele Reinhard, Herr Bernd Reklies, Frau Helga Stania, Frau Heike Stehr, Herr Dietmar Tauchner, Herr Hubertus Thum, Herr Klaus-Dieter Wirth, and Herr Heinz Wöllner.


The Winter Issue 2009 of WHC-German is now online!
Die Winterausgabe 2009 von WHC-German ist nun online!

Angelika Wienert ed.,
Winter Issue 2009 (WHC-German)
A background image description: Snow on a twig.

Frau Angelika Wienert, Thank you very much for the news! (January 19, 2009, Hitomi)

I quote below from a publication announcement of the Winter Issue 2009 in the E-mail from Ms. Wienert.
(quote) haiku, tan-renga and tanka
authors: Gerd Börner, Claudia Brefeld, Ralf Bröker, Ingo Cesaro, Beate Conrad, Andrea D`Alessandro, Michael Denhoff, Roswitha Erler, Volker Friebel, Heike Gewi, Ramona Linke, Horst Ludwig, Helga Stania, Udo Wenzel and many others
(end quote)
In Japanese, WHC-German Winter Issue 2009

There are many Web sites and Web pages which make references to the Haiku writers of the World Haiku Club and on which their Haiku poems are published or featured. But I am going to refer only to the Web sites and Web pages that appear to be maintained by the very Haiku authors (like the above-mentioned Ms. Angelika Wienert's "haiku-shelf").
Wenn Sie die URL-Adressen der Web-Seiten von den vorgenannten Haiku-Dichtern wissen, geben Sie mir bitte Bescheid.

-- Sorted alphabetically by first name --
Mr. Bernd Reklies's Homepage "Home" http://www.reklies.eu/ [German]
Ms. Claudia Melchior's Web site "Claudia Melchior ∼ schönsinnlicht ∼" http://www.schoensinnlicht.de/ [German]
Mr. Franz-Christoph Schiermeyer's Homepage "Franz Christoph Schiermeyer" http://www.fcschiermeyer.de/ [German]
Ms. Gabriele Reinhard's Homepage "Gabriele Reinhard Galerie Verlag Höchstenbach Westerwald" http://www.gabriele-reinhard.de/ [German]
Ms. Heike Stehr's Web site "Willkommen - kunstlebendig.de" http://www.kunstlebendig.de/ [predominantly German]
Mr. Horst Ludwig's Web page on the Web site of Gustavus Adolphus College http://homepages.gac.edu/~ludwig/ [English] Mr. Ralf Bröker's Web pages

"Potter's Poems" http://potterspoems.log.ag/ [German]

"haiku-pupil" http://haiku-pupil.blogspot.com/ [English]

Ms. Silvia Kempen's Web site "Lyrikbaum" http://www.lyrikbaum.de/ [German] ( The page that the link represents includes a dynamic image such as Flash.)
Ms. Sylvia Hagenbach's Homepage "SYLVIA HAGENBACH" http://www.sylviahagenbach.de/ [German]
Mr. Volker Friebel's Homepage "Psychologie: Entspannung, Imagination, Psychosomatik" http://www.Volker-Friebel.de/ [German]
Mr. Dietmar Tauchner's Web site "Bregengemme" http://www.bregengemme.com/ [German and English] Ms. Marion Naumann d´Alnoncourt's Homepage http://www.marionikebana.de/ [German] Ms. Ramona Linke's Art site "Haiku-wortArt" http://www.wortartundlyrdicht.de/ [German] Ms. Sonja Raab's Homepage http://raabennest.at.vu/ [German]


Chiru sakura
Kokoro no oni mo
Dete asobe
(Issa)

Hana no kumo
Kane ha Ueno ka
Asakusa ka
(Basho)

Cherry blossoms being scattered
Come out and play
My inner demon
(a free translation)

A cloud of blossoms
Through which is heard the hour bell
Is that Ueno or Asakusa?
(a free translation)

As for Sakura - Japanese Cherry Blossom

Where is the soul of your country to be found? It is remarked by Peter Milward that whoever defined the soul of Japan as "mountain cherry blossom fragrant in the morning sun" was indeed an inspired poet. He asks himself, "To what can I compare such blossom in England? Or where is the soul of England to be found in the English countryside?" (Peter Milward, An Anglo-Japanese Calendar [Japan: Kenkyu Sha, 1982], p. 2).

Wo soll die Seele Ihres Landes gefunden werden? Es wird von Peter Milward erwähnt, daß, wer die Seele von Japan als „Gebirgskirschblüte, die in der Sonne morgens duftet“ definierte, in der Tat ein angespornter Dichter war. Er fragt sich, „Womit kann ich solche Blüte in England vergleichen? Oder wo soll die Seele von England in der englischen Landschaft gefunden werden?“ (Peter Milward, An Anglo-Japanese Calendar [Japan: Kenkyu Sha, 1982], p. 2)

In Japanese, by Norinaga Motoori
Waka "Shikishima no Yamato-gokoro wo Hito towaba Asahi ni niou Yamazakura-bana" (5-7-5-7-7) by Norinaga Motoori (1730-1801) [(a free translation) If I were to tell what the soul of Japan is, I would say, it's like a mountain cherry blossom that stands out in the morning sun, exuding its fragrance. Wenn ich erklären sollte, was die Seele von Japan ist, würde ich sagen, daß sie wie eine Gebirgskirschblüte ist, die in der Sonne morgens auffällt und heraus ihr Duft gibt.]

Seen from a folkloric perspective, the cherry blossom is also the most significant flower in Japan. One theory holds that it was the symbol of the agricultural (rice farming) practice to ancient Japanese people in that good and bad harvests were predicted by it, specifically, by whether it fell early or late in that year. Early falling was a bad omen of famine. Their concern was solely with when it would fall, and their mind was not relaxed, with their wish for it being not fallen. This apprehensiveness had evolved and come to be "literaturized," and it was followed by the poems regretting the falling of the cherry blossom. (Needless to say, with the "literary attitude," the reason for regret varied from the omen to the beauty of the blossom.) Hence, the appreciation of the cherry blossom came along after their time, say, from the Heian period onward. It is no wonder that there are few poems admiring the cherry blossom in A Collection of a Myriad Leaves (Manyoshu).
cf. Orikuchi Shinobu Zenshu dai 2 kan [The Collected Papers of Shinobu Orikuchi Vol. 2] (Japan: Chukobunko, 1975), pp. 467-93 and Orikuchi Shinobu Zenshu dai 15 kan (Japan: Chukobunko, 1976), pp. 85-87.

Aus einer folkloristischen Perspektive ist die Kirschblüte auch die bedeutendste Blume in Japan. Eine Lehre hält, daß sie das Symbol der landwirtschaftlichen (Reis anbauend) Praxis zu den alten japanischen Leuten war in dem Sinne, daß gute und schlechte Ernten durch sie, und zwar durch ob sie früh oder spät in dem Jahr fiel, vorausgesagt wurden. Frühes Fallen war ein schlechter Omen des Hungers. Besonders waren die Leute daran interessiert, wann sie fallen würde, und mit ihrem Wunsch dafür, daß sie nicht gefallen sein wird, wurde ihr Geist nicht entspannt. Diese Angst hatte entwickelt und begonnen, eine „literarische Haltung“ zu einnehmen, und sie wurde von den Gedichten, die das Fallen der Kirschblüte bedauern, gefolgt. (Unnötig zu sagen, daß mit der "literarischen Haltung" der Grund für Bedauern von dem Omen zur Schönheit der Blüte wechselte.) Folglich kam das Genießen der Kirschblüte nach ihrer Zeit vermutlich von der Heian-Periode an. Es ist kein Wunder, daß es wenige Gedichte, die die Kirschblüte bewundern, in Sammlung der zehntausend Blätter (Manyoshu) gibt.
vgl. Orikuchi Shinobu Zenshu dai 2 kan [Die gesammelten Werke von Shinobu Orikuchi Vol. 2] (Japan: Chukobunko, 1975), pp. 467-93 und Orikuchi Shinobu Zenshu dai 15 kan (Japan: Chukobunko, 1976), pp. 85-87.

To cite an instance from Manyoshu:
In Japanese, Original Text by Hirotsugu Fujiwara
In Japanese, by Hirotsugu Fujiwara
"Kono hana no Hitoyo no uchi ni Momokusa no Koto zo komoreru Ohorokani suna" by Hirotsugu Fujiwara (Fujiwara no Hirotsugu [?-740], Manyoshu, vol. 8, no. 1456) [(a free translation) A single spray of this blossom carries the implication of a hundred words. Though not stating in words, please reflect deeply on what it says and don't trifle with this. Ein einzelner Zweig dieser Blüte trägt die Implikation von hundert Wörtern. Zwar sind sie in Worte nicht angegeben, jedoch reflektieren Sie bitte tief über was er sagt und behandeln Sie nicht dieses nachlässig.]

In the above poem that is a love poem in the springtime which was sent along with a spray of the cherry blossom to a lady, the cherry blossom is not topicalized, nor is it admired. Additionally, if we would fundamentally adhere to the foregoing view, we could extract an imagery of the cherry blossom derived from the flower of the omen and take it that the background factor for the inclusion of the "implication" in the above poem is that the cherry blossom had had the meaning as the "implication."

Im oben genannten Gedicht, das ein Liebegedicht in der Früjahrzeit ist, welches zusammen mit einem Zweig der Kirschblüte an eine Dame gesandt wurde, wird die Kirschblüte nicht als das Thema behandelt, noch ist sie bewunderte. Zusätzlich wenn wir grundlegend die vorangehende Ansicht befolgen würden, könnten wir ein Bild der Kirschblüte, die von der Blume des Omen abgeleitet wurde, extrahieren und es nehmen, daß der Hintergrundfaktor für das Gehören der „Implikation“ in das oben genannte Gedicht ist, daß die Kirschblüte die Bedeutung als die „Implikation“ gehabt hatte.

To cite an instance from Kokinshu:
In Japanese, Kokin Shu Haru 62
"Adanari to Nanikoso tatere Sakurabana Toshi ni marenaru Hitomo machikeri" by Unknown (Kokinshu [Kokinwakashu], Spring, no. 62) [(a free translation) The cherry blossom is noted for its fickleness. Even so, it awaits a man who rarely comes in the space of a year. Die Kirschblüte ist für ihre Unbeständigkeit bekannt. Allerdings erwartet sie einen Mann, der selten in den Abstand eines Jahres kommt.]

It is accepted that the compilation of Kokinshu was completed either in engi 5 (905) or in engi 13 (913). It is Heian Period (commonly, 794-1192). From the above poem that was meant for Narihira Ariwara (Ariwara no Narihira [825-880]), we can learn that there was an old way that the cherry blossom was seen as "adana mono" [something treacherous, something fickle].
cf. Toru Nishimura, Uta to Minzokugaku minzoku mingei shoshu 6 [Songs and Folklore - folklore folkart 6 in libraries] (Japan: Iwasaki Bijutsu Sha, 1966), pp. 214-215.

Es wird akzeptiert, daß die Kompilation von Kokinshu entweder in engi 5 (905) oder in engi 13 (913) vollendet wurde. Es ist Periode Heian (gemeinhin, 794-1192). Vom oben genannten Gedicht, das an Narihira Ariwara gerichtet war, können wir erfahren, daß es eine alte Weise, daß man in der Kirschblüte „adana mono“ [etwas gefährlich, etwas unbeständig] sah, gab.
vgl. Toru Nishimura, Uta to Minzokugaku minzoku mingei shoshu 6 [Die Lieder und die Volkskunde - Volkskunde Volkskunst 6 in einer Serie] (Japan: Iwasaki Bijutsu Sha, 1966), pp. 214-215.

There is, I should add, another theory that differs with the aspect of construing the cherry blossom as the flower of the omen as mentioned above. The theory has it that the cherry blossom was related to the "curse," as the description in Ryo no Gi GeIn Japanese, Ryo no Gi Ge(883) on the meaning of the festival of Hana-shizume [appeasing the flower] in March reads. Briefly, when the "vernal flower" fell and blew about, the gods of epidemic were allegedly dispersed widely and spread the disease. Thus, the festival was held in an effort to appease the "curse." [Please note that this theory assumes that the "vernal flower which falls and blows about" in March is the cherry blossom.] Yoshiyuki Kojima takes the issue of the festival of Hana-shizume even further and pursues an object being appeased in the context of hunting, as in contrast to the pursuit in the context of agriculture (rise farming).
cf. Yoshiyuki Kojima, "Inasaku igaino Kisetsu no Girei - Hana-shizume no Masturi no Imisurumono -" ["The Rituals of the Seasons other than That of Rice Growing: What the Festival of Appeasing the Flower Signifies"], Folklore, no. 4 (Japan: Honami Shoten, 1994).

Given the remaining lyrics, the song of Hana-shizume festival is closed with the words: Yasurahe (or Yasurai), Hana ya, Yasurahe, Hana ya (Procrastinate [Don't act so hastily, Hold your horses], Flower, Procrastinate, Flower).
cf. Orikuchi Shinobu Zenshu 21 Nihon Geino-shi Rokko [The Collected Papers of Shinobu Orikuchi Vol. 21 The Six Lectures on the History of Japanese Performing Arts] (Japan: Chuokoron Sha, 1996), pp. 68-69 and Yanagita Kunio Zenshu 18 Minyo Oboegaki Minyo no Ima to Mukashi hoka [The Collected Papers of Kunio Yanagita Vol. 18 Folk Songs, Folk Songs' Now and Past, etc.] (Japan: Chikumabunko, 1990), p. 435.


Ich sollte addieren, daß es eine andere Lehre, die vom Aspekt, der die Kirschblüte als die Blume des Omen betrachtet wie oben erwähnt, sich unterscheidet, gibt. Die Lehre sagt, daß die Kirschblüte mit dem „Fluch“ zusammenhing, wie die Beschreibung in Ryo no Gi GeIn Japanese, Ryo no Gi Ge(883) von der Bedeutung des Festes Hana-shizume [Beschwichtigen der Blume] im März gibt. Um es kurz zu sagen, als die „frühlingshafte Blume“ fiel und überall wehte, wurden die Götter der Epidemie angeblich hier und dort zerstreut und die Krankheit verbreiteten. So wurde das Fest gegeben in einer Bemühung, den „Fluch“ zu beschwichtigen. [Merken Sie bitte, daß diese Theorie voraussetzt, daß die „frühlingshafte Blume, die fällt und weht,“ im März die Kirschblüte ist.] Yoshiyuki Kojima überlegt die Sache des Festivals von Hana-shizume sogar weiter und erforscht einen Gegenstand, der beschwichtigt wurde, im Kontext von Jagd, wie im Kontrast zu der Erforschung im Kontext der Landwirtschaft (Reis anbauend).
vgl. Yoshiyuki Kojima, „Inasaku igaino Kisetsu no Girei - Hana-shizume no Masturi no Imisurumono -“ [„Die Rituale der Jahreszeiten anders als die des Reiswachsens: Was das Festival des Beschwichtigens der Blume bedeutet“], Folklore, no. 4 (Japan: Honami Shoten, 1994).

Wenn wir die restlichen Liedtexte ansehen, wird das Lied des Festes Hana-shizume geschlossen mit den Worten: Yasurahe (oder Yasurai), Hana ya, Yasurahe, Hana ya (Zögern Sie [Nur nicht so eilig, Nur mit der Ruhe], Blume, Zögern Sie, Blume).
vgl. Orikuchi Shinobu Zenshu 21 Nihon Geino-shi Rokko [Die gesammelten Werke von Shinobu Orikuchi Vol. 21 Die sechs Vorträge über die Geschichte der japanischen Leistungskünste] (Japan: Chuokoron Sha, 1996), pp. 68-69 und Yanagita Kunio Zenshu 18 Minyo Oboegaki Minyo no Ima to Mukashi hoka [Die gesammelten Werke von Kunio Yanagita Vol. 18 Volkslieder, Die Gegenwart und Vergangenheit der Volkslieder, etc.] (Japan: Chikumabunko, 1990), p. 435.



Some of Appellative Names of the Months
and Some of Season Words

There are many Season Words (Kigo) available throughout the whole of Spring (the three spring months) and of Summer (the three summer months) and of Autumn (the three autumn months) and of Winter (the three winter months), including Noasobi [an outing in the field] for Spring, Ukai [fishing with cormorants (an ancient fishing method catching Japanese trout called Ayu by using tamed cormorants)] for Summer, Shikabue [a deer whistle] for Autumn, and Kareno [a desolate (dreary) field] for Winter. But I will only give examples specific to each month.

A brief mention of each of the Haiku poets (his or her pseudonym, autonym, literary style, etc.) whose poems are used as examples of the Kigo usage is in the bottom part of this "Some of Appellative Names of the Months and Some of Season Words" section on this page.

Green-colored capital letters indicate the first letters in the seven-and-five syllable meter (5-7-5) characteristic of Japanese poetry, while wide spacings between the words indicate where Kugire appears to be occurred, though these extra spacings by placing the HTML character entity "em space" (&+#+8195+;) would appear not to be reflected on Opera 9 for Mac.

My translations of Haiku poems by Japanese poets from the Late Muromachi period to the Late Edo period (Basho, Buson, Chiyoni, Issa, Kyorai, Kyotai, Onitsura, Sokan, Taigi, and Yaba) below are loose, but rather descriptive.

Spring - The three spring months

1 Mu-tsuki

- The first month of the luni-solar calendar (hereinafter omitted), January.
Other names for "January" are Shogatsu (though the term "Shogatsu" is generally used to refer particularly to the first few days of the month when the New Year's holiday is celebrated), Taro-zuki [Month of "Taro" ("Taro" is the term referring to "the beginning of things" or "the first")], etc.

Yamazato ha Manzai oso-shi Ume no hana (Basho)
   [in Ohi Nikki compiled in 1695]
Note: There are two interpretive theories.

(1)
To a mountain village, A New Year well-wishing duo comes belatedly,Where are bloomed the plum blossoms.
(2) To a mountain village, A New Year well-wishing duo has not yet come, though spring also comes late,Where are bloomed the plum blossoms.
"Manzai" is for Mutsuki and "Ume-no-hana" is for Kisaragi.

Ein Hand-Zeichnung: Ein „Edo Manzai“ Duo.
A hand drawing: A "Manzai" duo, in imitation of the copy of "Edo Manzai" in Jinrin Kinmo Zui (1690).
The duo who appear to be Tayu and Saizo are drawn in the copy of Jinrin Kinmo Zui as shown, but Saizo is often described to be wearing a Daikoku hood Note (1) instead of an Eboshi headgear.

Saruhiki ha Saru ni motase te Ikanobori (Issa)
   [in Bunka Ku Cho including the entries 1804 - 1808]
Saruhiki, With a mokey tugging the string, Flies a kite.
Saruhiki ha Saru no kosode wo Kinuta kana (Basho)
   [in Zoku Arisoumi compiled in 1698]
Saruhiki'd be making Monkey's short-sleeved kimono Soft and fine.

The word "kinuta" refers to "kinuta-uchi," which is a practice of making a kimono texture soft to the touch and lustrous to the eye by pounding it with a wooden mallet over time with great care.

Ein Hand-Zeichnung: „Saruhiki“ und ein Affe.
A hand drawing: "Saruhiki" and a monkey, in imitation of the copy of "Saruhiki" in Ehon Otogi Shina-kagami (1730).

I have placed Basho's Haiku on the left for the mere sake of appearance of "saruhiki," but, in this case, its kigo is "kinuta" that is for Hazuki in the three autumn months.

2 Kisaragi

- The second month, February.
Other names for "February" are Konome-zuki [Month of leaf buds], Umemi-zuki [Month of Japanese apricot blossom viewing], etc.

3 Yayoi

- The third month, March.
Other names for "March" are Hanami-zuki [der Monat von sehend die Kirschblüte, Month of cherry blossom viewing], Sakura-zuki [Month of Japanese cherry], etc.

Kusa no to mo
Sumikaharu yo zo
Hina no ie
(Basho, Oku no Hosomichi)

In the hut of thatch
It's time for change,
Hina dolls'd be the newly-arrived.

Summer - The three summer months

4 U-zuki

- The fourth month, April.
Other names for "April" are Hananokori-zuki [Month of remaining flowers], U-no-hana-zuki [Monat der utsugi Blumen, Month of utsugi (deutzia) flowers], etc.

Kanbutsu no
Hi ni umareafu
Kanoko kana
(Basho, Ohi no Kobumi)

On such an auspicious day,
Having just been born,
Blessed is the deerlet.

5 Satsuki

- The fifth month, May.
Other names for "May" are Sanae-zuki [Month of rice seedlings], U-getsu [Monat des Regens, Month of rain], etc.

6 Mi-na-zuki

- The sixth month, June. "Na" of the name "Mi-na-zuki" is a particle meaning "no ['s, of, belonging to]," and the purport of this name is "the month of water," that is, the month of irrigating a rice field.
Other names for "June" are Kazemachi-zuki (also read as Kazamachi-zuki) [Month of waiting for the wind], Narukami-zuki [Month of a god that sounds (the god of thunder)], etc.
cf. Akira Muramatsu and Akiho Yamaguchi and Toshimasa Wada eds., Kogo Jiten [The Dictionary of Archaic Words], Revised and New Edition (Japan: Obun Sha., 1988). Akira Muramatsu ed., Daijirin, Second and Desk Edition (Japan: Sanseido, 1995).

Uchihatasu Boro tsuredachi te Natsu-no kana (Buson)
   [in Shin Hanatsumi published in 1797]
Looking for a place to fight a duel, Two mendicant priests walk together On the summer field.
The story, which tells that a Boro (also written as ) [an itinerant monk of sorts later came to be called "Komuso"] had come across the object of his vengeance for the death of his master, who was also a Boro, and they fought a duel and finally they both died, finds mention in Tsurezuregusa [Essays in Idleness].

Ein Hand-Zeichnung: Komuso und Shakuhachi.
A hand drawing: "Komuso" and Shakuhachi [a five-holed Japanese vertical bamboo flute], in imitation of the copy of "Shakuhachi" ("Komuso") in Jinrin Kinmo Zui (1690).

The kigo "Natsu-no" [a summer field, which is overgrown with grass] is for Summer.

Please note that there is a controversial aspect concerning whether the precursor of the Komuso was the Boro. (See the term "Boro," if interested.)

Autumn - The three autumn months

7 Fumi-zuki (also read as Fuzuki)

- The seventh month, July.
Other names for "July" are Fumihiroge-zuki [der Monat von aufmachend die Bücher und die Schriften, Month of opening books and writings (airing out them in the night breeze)], Tanabata-zuki [Month of the Star Festival], etc.

Hatsukoi ya
Toro ni yosuru
Kao to kao
(Taigi, Taigi Ku Sen Kohen)

First love,
Leant toward a lit Bon lantern and colored up are
Boy's face and girl's face.

8 Ha-zuki

- The eighth month, August.
Other names for "August" are Kei-getsu (also read as Katsurazuki), Tsukimi-zuki [der Monat von sehend den Mond, Month of viewing the moon], etc.

Kinuta uchi te
Ware ni kika-seyo
Bo ga tsuma
(Basho, Nozarashi Kiko)

With pounding on the kinuta
Let me hear the plaintive sound,
The wife of a priest of a lodging temple.

9 Naga-tsuki

- The ninth month, September.
Other names for "September" are Kiku-zuki [Monat der Wucherblume, Month of chrysanthemum], Momiji-zuki [Monat des Herbstlaubs, Month of autumnal foliage], etc.

Winter - The three winter months

10 Kami-na-zuki (also read as Kanna-zuki)

- The tenth month, October. "Na" of the name "Kami-na-zuki" is a particle meaning "no ['s, of, belonging to]" as in the above name "Mi-na-zuki," and the primary and correct purport of this name is "the month of god," that is, the month of celebrating a god. However, having interpreted it as "na (the stem of an adjective word "nashi " [there is no, dose not exist, be gone])," a popularly held belief suggests that "Kamina-zuki" is the month when there are no gods (in any other places other than Izumo, for all the gods of heaven and earth forgather at the Great Shrine at Izumo).
Other names for "October" are Hatsu-shimo-zuki [Month of the first frost of the year], Shigure-zuki [Monat eines (leichten) Regenschauers, Month of a (light) shower of rain], etc.
cf. Akira Muramatsu and Akiho Yamaguchi and Toshimasa Wada eds., Ibid. Akira Muramatsu ed., Ibid.

11 Shimo-tsuki

- The eleventh month, November.
Other names for "November" are Kagura-zuki [Month of Kagura (a performance of sacred music and dancing)], Yukimi-zuki [der Monat von sehend die Schneelandschaft, Month of snow-scene viewing], etc.

Kurozome no Yoru no nishiki ya Hachitataki (Buson)
   [in Yahan Soku Shu initiated in 1776]
In the black oxide finished Night, it's like a rich brocade,Hachitataki.
Chosho no Haka mo meguru ka Hachitataki (Basho)
   [in Itsuwo Mukashi compiled in 1690]
To Chosho's Grave you might have made a detour,Hachitataki.

The name "Chosho" refers to the pseudonym of Kinoshita Katsutoshi (1569-1649), who composed a poem, "Hachitataki Akatsukikata no Hitokoe ha Fuyu no yo sahemo Naku hototogisu" (Kyohaku Shu).

Ein Hand-Zeichnung: „Hachitataki“ und ein Flaschenkürbis und ein Gehstock mit dem Geweih gennant Kasezue . Anmerkung (2)
A hand drawing: "Hachitataki" and a gourd and an antlers-headed stick called Kasezue , Note (2) in imitation of the copy of "Hachitataki" in Shichiju-ichi-ban Shokunin Utaawase (presumably, 1500).

12 Shiwasu

- The twelfth month, the year-end, December.
Other names for "December" are Goku-getsu [Month of reaching an extreme point of the year (the last month of the year)], Ro-getsu [Month of a hunting festival called "Ro"], etc.

A brief mention of Kugire and Kireji in Haikai

In terms of compositional-grammatical attributes of Haikai poetry, several specified words called Kireji , including conjugational words either in their end-forms or in their imperative forms and sentence-final particles (postpositional particles denoting emotion), terminate an expression (phrase, line) of a 31-syllable Japanese poem or a linked verse or a 17-syllable Japanese poem, and make the expression conclusive and independent and engender one or more terminative intervals in the flow of a single poem (Kugire ).
In the day of Sogi (1421-1502), a Renga poet and classical scholar in the Late Muromachi period, there were defined 18 Kirejis, which are said to have originally been expounded in a book of secrets of Renga titled Isshi Shinasadame written purportedly by Nijo Yoshimoto (1320-1388), a poet in the period of the Northern and Southern Dynasties and Chancellor Michihira's son, and thenceforth carried on as the most important eighteen words to be used to terminate an expression of a poem. The 18 Kirejis are:

  1. kana — a sentence-final particle (a postpositional particle denoting emotion), as kana of "Gyokei kana," "Kahazu kana," and so on in above instances.
  2. mogana — a desiderative sentence-final particle.
  3. keri — a preterite auxiliary verb in its end-form (retrospective, exclamatory, and hearsay. In literary use, the past is invoked in relation to the present, and therefore often with a sense of "just now" realization or of "That was it" amazement), as keri of "Kuware keri" (exclamatory) in above instances.
    The preterite auxiliary verb "keri" is distinguished as being different from the preterite auxiliary verb "ki," though there are various theories, generally on the ground that (1) keri is used in reference not only to the fact in the past, but also to the continuing fact up to the present time, whereas ki is used in reference to the fact in the past that does not exist at the present time or (2) keri is used in reference to the ongoing thing of which one was not aware until the present moment, whereas ki is used in reference to the thing in the past or (3) keri is used in reference to the thing in the past which one heard from other people, whereas ki is used in reference to the past that one experienced firsthand.
  4. zo — a sentence-final particle (assertive, emphatic, etc.), as zo of "Sumikaharu yo zo," "Nihon no kari zo" (assertive), and so on in above instances.
  5. yo — a sentence-final particle (confirmative, exclamatory, etc.), as yo of "Kahazu to nare yo" (confirmative) in above instances.
  6. ya — (1) an exclamatory sentence-final particle, as ya of "Gwanjitsu ya," "Neru ya," and so on in above instances, and (2) a binding (linking) particle (inquiring, interrogative, and ironic).
  7. ka — a sentence-final particle (desiderative, interrogative, etc.), as ka of "Haka mo meguru ka" (interrogative) in above instances.
  8. ikani — an interrogative adverb.
  9. zu — a negative auxiliary verb either in its continuative form named Renyo-kei or in its end-form, as zu of "Iho ha yabura zu" and "Yo niha ni zu" in above instances.
  10. ji — an auxiliary verb in its end-form or in its attributive (adnominal) form named Rentai-kei or in its conditional (hypothetical) form named Izen-kei, denoting negative conjecture, negative volition, etc.
    When in a linked form called "Kakari-musubi," the Izen-kei conjugational word comes to express either a copulative conjunctional definite condition or an adversative conjunctional definite condition by reference back to a binding (linking) particle "koso" appearing earlier in the sentence.
  11. nu — a perfect auxiliary verb in its end-form, as nu of "Ushiro ni oi nu" and "Toshi kure nu" in above instances.
  12. tsu — a perfect auxiliary verb in its end-form.
  13. ramu (ran) — a putative (presumptive) auxiliary verb in its end-form.
  14. ke — a verb in its imperative form, more specifically, the ending of its imperative form.
  15. se — a verb in its imperative form, more specifically, the ending of its imperative form, as se of "Sora fukioto-se" in above instances.
  16. shi — an adjective in its end-form, more specifically, the ending of its end-form, as shi of "Manzai oso-shi" in above instances.
  17. he — a verb in its imperative form, more specifically, the ending of its imperative form.
  18. re — a verb in its imperative form, more specifically, the ending of its imperative form.
In the day of Satomura Joha (around 1525 -1602), a Renga poet in the closing days of the Muromachi period, there were designated 22 Kirejis. The 22 Kirejis are:

Yet, Basho viewed the terminative interval, or Kugire , in a poem as that which was ascribed to the substance of a poem regardless of whether there was a Kireji in the poem or not, and set forth his perspective that "Iroha Shi-ju-hachi Ji Mina Kireji nari [Every one of the 48 characters of the traditional Japanese Iroha syllabary is a Kireji]" (Kajitsu Shu).


A brief mention of each of the Haiku poets

As for the old province names, please see Simplified Border Maps of the Old Provinces with explanations, if necessary.

Note (1) Daikoku zukin [hood] - A full and large flat round cap, which is similar to the hood (cap) that Daikoku-ten (Skt. Mahakala) is wearing.

Note (2) One of the anecdotes as to Kuya's Kasezue tells as follows:
Priest Kuya had always cherished a deer and loved the call of the deer. But the deer was shot dead with an arrow by Taira no Sadamori (a military commander in the Early Heian period, the military governor [Chinju-fu Shogun] that is the military caste's most prestigious position of the time, the Lord of Mutsu]), and that caused Kuya deep sorrow. Taking that into his heart, Kuya attached the antlers of the killed deer onto his walking stick and went on his missionary rounds with the stick. Sadamori heard it, and he repented of his sin, and then followed Kuya, walking with the Nembutsu for the rest of life.
So, there has been handed down to the Hachitataki people a document recording the origin that shows that Taira no Sadamori is their forefather, which is construed by several scholars as a type of the tale of the adrift noble birth (Kishu Ryuri Tan : A type of narratives [folktales], in which young deities or heroes of noble birth become gods or august personages after having overcome the diverse ordeals that they had encountered while drifting or wandering in alien lands).
Hiroshi Noma and Kazuteru Okiura, Nihon no Sei to Sen [On the Sacred and the Tainted in Japan], chusei-hen [vol. medieval] (Japan: Jimbunshoin, 1985), p. 113.

Anmerkung (2) Eine von Anekdoten betreffend Kuyas Kasezue erzählt wie folgt:
Priester Kuya hatte einen Hirsch und das Gebrüll des Hirshes geliebt und geehrt. Aber der Hirsh wurde von Taira no Sadamori (Einer Militärführer in der Früh-Heian-Periode beziehungsweise der Militärgouverneur [Chinju-fu Shogun], der die renommierteste Stelle damals in der Militär-Kaste war, und der Herr Mutsus) mit einem Pfeil getötet, und das macht ihm großen Kummer. Das ins Herz schließend, befestigte er das Geweih des getötete Hirsch an seinem Gehstock und fuhr mit dem Gehstock in seinen Missionar Runden fort. Sadamori hörte von dieser Sache, und er bereute seine Sünde. Und dann folgen er Kuya, mit dem Nembutsu für den Rest seines Lebens gehend.
Also es gibt das Herkunft-Dokument, das unter den Hachitataki Leuten weitergeben worden ist, in dem beschrieben wird, daß Taira no Sadamori der Ahn ist, das als eine Type von der Geschichte von der treibend adligen Geburt (Kishu Ryuri Tan : Eine type von den Erzählungen [Volkserzählungen], in den die jungen göttlichen Wesen oder die Helden von der adligen Geburt Götter oder illusteren Persönlichkeiten werden, nachdem sie die verschiedene Prüfungen überwunden haben, die ihnen begegnet waren, während des Treiben order des Wandern in fremde Länder) von mehreren Gelehrten aufgefasst wird.

Hiroshi Noma and Kazuteru Okiura, Nihon no Sei to Sen [Über das Heilig und das Schmutzig in Japan], chusei-hen [Bd. Mittelalter] (Japan: Jimbunshoin, 1985), p. 113.


Explications of Haiku poems, Kigo (Season Words), Kugire and Kireji in Haikai , and a brief background description of each Haiku poet ---
cf. Akira Muramatsu and Akiho Yamaguchi and Toshimasa Wada eds., Kogo Jiten [The Dictionary of Archaic Words], Revised and New Edition (Japan: Obun Sha, 1988), a list of Kigo entitled "Kigo Shu" in the appendix to this archaic words dictionary.
cf. Akira Muramatsu ed., Daijirin, Second and Desk Edition (Japan: Sanseido, 1995).
cf. Motoo Nishitani, Juyo Koten (7) Kiko • Nikki Bungaku Sen [The important Japanese classics 7 A Selection of Travel Literatures and Diaries], Enlarged and Reprint Edition (Japan: Yuhodo, 1995).
cf. Motoo Nishitani, Seisen Koten (15) Hyoron [The carefully-selected Japanese classics 15 Critical Essays], Enlarged and Fifth Edition (Japan: Yuhodo, 1995).
cf. Takashi Koizumi, Kobun Jotatsu Dokkai to Enshu 56 [Proficiency in Japanese Classics: Reading and Practice 56], Enlarged and Nineteenth Print (Japan: Z-kai Zoshin-kai Shuppan Sha, 1996).

Pictures of Ritual Visitors ---
I will try to draw them by hand in imitation of the copies of the original pictures in Professor Masahiko Hayashi's "Nihon no Taishu Geino" covering Japanese popular performing arts from ancient and medieval times to recent and modern times with images and photographs included in a 50-page material provided by Lecturers of "The World of Popular Performing Arts: Kamishibai, Etoki, and Sekkyo Joruri" at the Meiji University Liberty Academy Hall on the 12th of May, 2007.
Note: Professor Masahiko Hayashi (Meiji University) is the foremost authority in the field of Etoki Study.



Photos


Ich bin Richard Kett richtig dankbar für seine kräftige Lichtbilder und Texte, die in AGikuyu Ein ostafrikanisches Bantuvolk enthalten sind, und seine Zustimmung, die mir erlaubt nicht nur, daß ich sie auf www.hdever.com aufweise, sondern auch daß ich sie ins Japanische und ins Englische übersetze. Ich möchte Richard Kett damit danken, daß ich versuche, einige Wörter in seiner Muttersprache an verschiedenen Stellen auf www.hdever.com zu sagen. Aber meine Deutschkenntnisse sind schlecht und die Primärsprache jeder Seite von www.hdever.com ist entweder Japanisch oder Englisch.
Infolge seines Wunsches nenne Ich seinen Namen, ohne die Anrede „Herr“ oder „Mr.“ zu voranstellen.


Copyright (C) 2001 Richard Kett
Copyright (C) 2001 Richard Kett
All of his photographs displayed on www.hdever.com and his original German text that I extract from his Book Project AGikuyu Ein ostafrikanisches Bantuvolk (2001), the objective of which is to describe the history and way of life of Kenyan Bantu people in text and photography, are the copyrights of Richard Kett.

When I first saw one of the photographs, which were taken by Richard, it made me think of "Religion and folk religion" in Japan, though it was the photo of Africa. I cannot ignore the presence of folk elements in Japanese Buddhism. Is there any folk-religious element in your religion?

Als ich zuerst eins der Bilder, die von Richard fotografiert wurden, sah, ließ es mich an „Religion und Volkreligion“ in Japan denken, obwohl es das Foto von Afrika war. Ich kann nicht das Vorhandensein der Volkselemente in japanischem Buddhism ignorieren. Gibt es irgendein Volk-frommes Element in Ihrer Religion?

Richard-shi no Shashin

The works of Richard Kett
In Japanese, Richard Kett's work

Copyright (C) 2001 Richard Kett, The Virgin and Child and a large-horned African cervid or bovid

A Photo by Richard Kett

From Richard Kett's
AGIKUYU Ein ostafrikanisches Bantuvolk

I am grateful to Richard Kett for his vibrant photos and his permission to have his work on www.hdever.com. (I dispense with the Mr. as he prefers.)

Description: Richard Kett's Photo from a part of "Die Gegenwart" in AGikuyu Ein ostafrikanisches Bantuvolk (2005 Edition, PDF): Still objects in photo. There are a picture of The Virgin and Child and a picture of a large-horned African cervid or bovid placed together on the blue wall.

Description in Japanese


Copyright (C) 2001 Richard Kett, A back shot of a lady of the Kikuyu

A Photo by Richard Kett

From Richard Kett's AGIKUYU Ein ostafrikanisches Bantuvolk

Description: Richard Kett's Photo from a part of "Das Ende" in AGikuyu Ein ostafrikanisches Bantuvolk (2005 Edition, PDF): A back shot of a lady of the Kikuyu carrying bags on her back is walking on the red earth.

Description in Japanese


Copyright (C) 2001 Richard Kett, An old lady

A Photo by Richard Kett

From Richard Kett's AGIKUYU Ein ostafrikanisches Bantuvolk

Description: Richard Kett's Photo from a part of "Das Ende" in AGikuyu Ein ostafrikanisches Bantuvolk (2006 Edition, PDF): An old lady is standing with a stick.

Description in Japanese


From Richard Kett's Book Project AGikuyu

The following are extracted from the original German text by Richard Kett either in his eBook or in his text file that I was given by him on March 25, 2006 and translated (or still not done) into English by me, to the best of my foreign language ability.
Those supplementary explanations of mine which were not described in his original text are enclosed with brackets [ ].
The dictionaries and books of reference that I have mainly used for my translation: Ikubundo Deutsch-Japanisches Wörterbuch (Japan: Ikubundo, 1988). Apollon Deutsch-Japanisches Wörterbuch, Fourth Edition (Japan: Dogaku Sha, 1997). Yoichi Sasaki, English und Deutsch, Tenth Print (Japan: Ikubundo, 1994).

Excerpts from "Die Konsolidierung":

Die sich ständig verändernden Lebensbedingungen, daraus resultierende soziale Spannungen und kulturelle Einflüsse anderer Völker zwangen der Gikuyu-Gesellschaft von Anfang an eine permanente Modifizierung in ihren sozialen und politischen Strukturen auf.

Sie selbst bezeichnen in ihren mündlichen Überlieferungen den Übergang vom Matriarchat zum Patriarchat als den - selbstverständlich - wichtigsten Abschnitt ihrer sozio-politischen Entwicklung.

Anders als in den legendenhaften Überlieferungen war diese einschneidende Entwicklung das Resultat einer sich über Jahrhunderte erstreckenden Änderung der Lebensweise, d.h. der allmähliche Wechsel einer Sammler - und Jägerkultur hin zu einer bodenbebauenden Kultur. Patriarchaisch organisierte Völker mit denen die Gikuyu in Kontakt standen, beschleunigten diesen Vorgang. Mitte des 17. Jahrhunderts hatte sich die bodenbebauende und weitgehend patriarchaische Kultur der Gikuyu entgültig stabilisiert. Doch bis heute haben sich viele wesentliche Merkmale des Matriarchats erhalten - wohl wegen der relativ kurzen Zeitspanne zur Gegenwart.


The ever-changing living conditions, resulting social tensions from thence and cultural influences of other ethnic groups have coerced the Gikuyu society into making a perpetual modification in their social and political structures from the beginning.

They themselves refer to the transition from Matriarchy to Patriarchy as the - naturally - most important period of their social-political development in their oral traditions.

At variance with that in the mythicized traditions, this striking development was the result of a centuries-old expanding change of the way of living, i.e. the gradual shift from a hunter-gatherer culture to an agrarian culture. The patriarchally organized population with whom Gikuyu people interacted accelerated this process. In the mid-seventeenth century, the agricultural and advanced patriarchal culture of the Gikuyu had conclusively stabilized. Up to the present time, however, a number of substantial characteristics of the matriarchal system have been preserved - probably due to the relatively short period of time to the present.

Consolidation in Japanese

Copyright (C) 2001 Richard Kett
Copyright (C) 2001 Richard Kett
Copyright (C) 2001 Richard Kett
By Richard Kett
From "Die Gegenwart" of his AGikuyu
Size reduced by www.hdever.com

Excerpts from "Die Anfänge des Kolonialismus":

Mitte des 19. Jahrhunderts hatten Zivilisation und Kultur der Gikuyu einen Höhepunkt erreicht. Ungefähr eine Million Gikuyu siedelten in einem nur ca. 320.000 Hektar großen Gebiet rund um den Kere Nyaga, im heutigen Zentral-Kenya. Dank einer hoch entwickelten Landwirtschaft, der Fruchtbarkeit des Bodens, der Höhenlage des Landes (1000 bis 2100 m über den Meeresspiegel) und dem sich daraus ergebenden milden Klima mit bis zu 2250 mm jährlichem Regen-Niederschlag, stellte die Ernährung der Gesamtbevölkerung kein sonderliches Problem dar.

Dennoch traten immer häufiger innergesellschaftliche Spannungen auf, die durch die Zunahme der Bevölkerungsdichte und der daraus resultierenden Bodenverknappung hervorgerufen wurden. Spannungen dieser Art hätten zwangsläufig zu einer Abspaltung einzelner Clane geführt, wäre dieser natürliche Vorgang nicht aufgrund des beginnenden Kolonialismus unterbunden worden. So zeichnete sich bereits ab 1850 die beginnende Loslösung des Ambui-Clans ab, der allmählich seine Verbindung zum Stammvolk verlor und eine verstärkte Assimilation mit den Ndia und Massai einging.

Um 1840, als mit dem deutschen Forscher, Abenteurer und Missionar Johann Ludwig Krapf der erste Europäer zu den Gikuyu vorgedrungen war, konnte es sie noch gastfreundlich, aufgeschlossen und hilfsbereit nennen. 1880 schrieb von Höhnel in seinem Expeditionsbericht: „Sie waren alle so freundlich, daß wir nicht umhin kommen zu denken, daß die Händler, die solche Schwierigkeiten hier hatten, sich selbst tadeln müssen, wahrscheinlich weil sie wegen ihrer Nervosität immer ein paar Schüsse als Warnung abgaben, bevor sie ihr Lager aufstellten.“ Mit dieser Aussage deutete sich bereits eine grundlegende Verhaltensänderung Fremden gegenüber an.


In the mid-nineteenth century, the civilization and culture of Gikuyu had reached their height. Approximately a million Gikuyu settled throughout about 320,000 hectares in a large area around the Kere Nyaga [the Mount Kenya], in today's Central Kenya. Owing to a highly developed agriculture, the fertile soil, the altitude of the land (1000 to 2100 meters above sea level) and that thereby offered a mild climate with an annual mean rainfall of up to 2250 mm, food for its entire population did not pose any big problem.

Nevertheless, internal social tensions arose more frequently, that were brought about by the increase of population density and its concomitant problem of land scarcity. Tensions of this nature would inevitably lead to a division within an individual clan [as further not merely as an internal-tribal issue, but as an issue of a clan as a sub-organizational group of the tribe], if this natural progression had not been thwarted because of the beginning colonization. So the fledgling detachment of Ambui clan, who gradually severed relations with a pillar of the tribe and remarkably assimilated with the Ndia and Massai, already surfaced from 1850.

Around 1840, when the first European with the German researcher, explorer and missionary Johann Ludwig Krapf had made inroads into the Gikuyu, the Gikuyu were still termed as hospitably, open-minded and willing hands. In 1880, written by Höhnel [of the naval force of the Austro-Hungarian Empire] in his expedition report: "They were all so friendly that we can't help but think that the traders who had such difficulties here must blame themselves, probably because they always fire several shots as a warning on account of their nervousness, before they set up their camp." With this remark, a fundamental change in attitudes [of the Gikuyu] toward outlanders already foretokened.

Go To Consolidation in Japanese


Copyright (C) 2001 Richard Kett
Copyright (C) 2001 Richard Kett
Copyright (C) 2001 Richard Kett
By Richard Kett
From "Das Land" of his AGikuyu
Size reduced by www.hdever.com

Excerpts from "Ursprung und Expansion":

Lange vor der Morgendämmerung der Geschichte, als Gott (Ngai) das Wasser vom Lande und das Gras vom Wald getrennt hatte, rief er Gikuyu (Gekoyo) zu sich auf den Gipfel des Mount Kenya (Kere-Nyaga). Dort zeigte er Gikuyu einen Ort namens Mukurue wa Gathanga, wo der Ahnvater der Gikuyus unter einem Feigenbaum seine neue Heimstatt (mukurue) errichten sollte.

Als Gikuyu sich diesem Feigenbaum näherte, erschien plötzlich ein schönes, anmutiges Mädchen. Sofort verliebte er sich in sie, nahm sie wenig später zur Frau und nannte sie Mumbi. Im Laufe der Zeit gebar Mumbi neun Töchter - aber keine Söhne. Auch schien es im ganzen Lande keine jungen Männer zu geben, die Gikuyus und Mumbis Töchter hätten heiraten können.

So wandte sich Gikuyu in seiner Verzweiflung wieder an Gott. Dieser befahl ihm sowohl seiner Frau Mumbi als auch seinen neun Töchtern je ein Lamm und eine junge Ziege zu opfern. Nach der Opferung und nachdem Gikuyu Frau und Töchter wieder nach Hause zurückgebracht hatte, kehrte er abends alleine zur Opferstelle zurück. Zu seiner größten Überraschung fand er dort neun stattliche, junge Männer vor, die er überglücklich willkommen hieß und sofort in sein Haus aufnahm. Am nächsten Morgen stellte er sie dann seinen Töchtern vor.

Die Mädchen heirateten die jungen Männer und hatten viele Nachkommen mit ihnen, die sich ganz allmählich über das ganze Land ausbreiteten.)

Der Name der neun Töchter Gikuyus ist bis heute in den Namen der zehn (!) verschiedenen Gikuyu-Clane (muhirga) erhalten geblieben. (Gemäß der Gikuyu-Tradition war es untersagt alles Lebendige mit exakten Zahlen zu belegen. So sprechen die Gikuyus in diesem Fall von der „Vollen Neun“ (kenda maiyura), mit der tatsächlichen Bedeutung von „Zehn“).

1. Wanjeri - Mutter des Aceera-Clans
2. Wanjiru - Mutter des Anjira-Clans
3. Wambui - Mutter des Ambui-Clans
4. Wangui - Mutter des Angui-Clans
5. Wangechi - Mutter des Angechi-Clans
6. Wambura - Mutter des Ambura-Clans
7. Wanjiku - Mutter des Agaciku-Clans
8. Wangari - Mutter des Angari-Clans
9. Wamuyu - Mutter des Aicakamuya-Clans
10. Wairimu - Mutter des Airimu-Clans

Leider ist dieser romantische Ursprungs-Mythos für die zeitliche Bestimmung des „Geburtsdatums“ (ciana cia muumbi) der Gikuyu völlig unbrauchbar. Aus dem Mythos läßt sich bestenfalls schließen, daß das geographisch bestimmbare Gebiet um Mukurue wa Gathanga eine gewisse und wohl auch nicht unwesentliche Rolle in der Evolution dieses Volkes spielte.

Der Ursprung der Gikuyu läßt sich ziemlich konkret auf die bantusprachigen Thagicu zurückführen, die bereits vor dem 12. Jahrhundert im Nordosten des heutigen Meru-Districts ansäßig waren. Um das Jahr 1450 wurden die Thagicu von einer mächtigen Bevölkerungsverschiebung erfaßt, deren wahrscheinlichste Ursache in sozialen Spannungen, Naturkatastrophen und Wanderungszügen nördlicher, kuschitischer Völker der Galla und Somal zu suchen ist. In Folge dieser Migration spalteten sich die Thagicu in einzelne Clans auf. Im Laufe der Zeit bildeten sich aus diesen Clans die zwar eigenständigen aber in Sprache und Kultur sehr nah verwandten Volksgruppen der sogenannten Mount Kenya People. Dies sind im einzelnen: Cicugu, Embu, Gikuyu, Kamba, Meru, und Ndia.


Well before the dawn of history, when God (Ngai) had separated the waters from the land and the grass from the forest, he summoned Gikuyu (Gekoyo) to the top of the Mount Kenya (Kere Nyaga). There God showed Gikuyu a place named Mukurue wa Gathanga, where the first male parent of the Gikuyus should build his new settled place (mukurue) under a fig tree.

When Gikuyu approached the fig tree, a beautiful, graceful girl suddenly appeared. He fell in love with her in a moment, took her to wife a little later on and called her Mumbi. In the course of the time Mumbi gave birth to nine daughters - but, no son. Also it seemed that there were no young men in the whole country to whom Gikuyu and Mumbi could give their daughters in marriage.

So Gikuyu in despair consulted God again. God instructed him, and his wife Mumbi as well as his nine daughters, to sacrifice a lamb and a young goat. After Gikuyu had brought his wife and daughters home following the offering, he went alone back to the sacrificial place in the evening. Much to his surprise, he found nine young men of sturdy build, whom he joyously greeted and welcomed into his home right away. On the following morning, he introduced them to his daughters.

The girls married the young men and had many offsprings, who spread over the entire country.

The name of nine daughters of the Gikuyus remains to the present in the names that ten (!) different Gikuyu clans (muhirga) hold. (in accordance with the Gikuyu tradition, it was forbidden to lay the exact numbers on every living thing. Thus, the Gikuyus speak, in this case, of the "full nine" (kenda maiyura), with the actual meaning of "ten").

1. Wanjeri - Mother of the Aceera-Clan
2. Wanjiru - Mother of the Anjira-Clan
3. Wambui - Mother of the Ambui-Clan
4. Wangui - Mother of the Angui-Clan
5. Wangechi - Mother of the Angechi-Clan
6. Wambura - Mother of the Ambura-Clan
7. Wanjiku - Mother of the Agaciku-Clan
8. Wangari - Mother of the Angari-Clan
9. Wamuyu - Mother of the Aicakamuya-Clan
10. Wairimu - Mother of the Airimu-Clan

Unfortunately this romantic origin myth is absolutely unusable for the chronological determination of the "date of birth" (ciana cia muumbi) of the Gikuyu. We can infer from the Myth at best that the geographically ascertainable area around Mukurue wa Gathanga played a certain and not insignificant role in the evolution of these people.

The origin of the Gikuyu can be traced back rather concretely to the Bantu-speaking Thagicu, that were already domiciled in the northeast of the today's Meru District before the twelfth century. Around the year 1450, the Thagicu were agitated by a massive migratory movement, the most conceivable cause of which is to be found in social tensions, natural disasters and migratory processions of the Northern Cushitic people of the Galla and Somal. In the aftermath of this migration the Thagicu split into several clans. From these clans were eventually engendered those ethnic groups which were independent but very closely related in language and culture, the so-called Mount Kenya People. The details are: Cicugu, Embu, Gikuyu, Kamba, Meru, and Ndia.

Go To Consolidation in Japanese


Copyright (C) 2001 Richard Kett
Copyright (C) 2001 Richard Kett
Copyright (C) 2001 Richard Kett
By Richard Kett
From "Die Gegenwart" and "Die Zukunft"
of his AGikuyu
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Literaturnachweis - Bibliography by Richard Kett:

J. Adamson, The Peoples of Kenya; London 1967
C. Cagolo, The AGikuyu: Their Customs, Traditions and Folklore; Njeri 1933
von Höhnel, Zum Rudolfsee und Stephaniesee. Die Forschungsreise des Grafen Samuel Theleki in Ost-Äquatorial-Afrika; Wien 1892
I. N. Kamau, The Problems of Social, Political and Economic Integration in East Africa; Warschau 1989, unveröffentlicht
L. S. B. Leaky, The Gikuyu, Vol. I - III; London 1976
R. Mwangi, Kikuyu Folktales. Their Nature and Value; Nairobi 1970
E. N. Mugo, Kikuyu People; Nairobi 1982
W. Manshard, Afrika südlich der Sahara; Frankfurt 1974
G. Muriuki, A History of The Kikuyu, Nairobi 1974
B. A. Ogot (Herausg.), Hadith, Vol. I; Nairobi 1968
C. S. Rosberg, The Myths of Mau Mau: Nationalismn in Kenya; Standford 1966
H. Sheikh-Dilthey, Kenya; Köln 1981


A Delightful Bonus : "Frohe Weihnachten" from Richard Kett received on December 24, 2005. (I dispense with the Mr. as he prefers.)

From Richard Kett

Description: Season's greetings, with the Nativity picture placed between images of angelic beings.



It should be no surprise that those who to whom music and song were culturally natural when they were in their motherland Africa, were finding an outlet for their anguish and grief in singing. Wyatt Tee Walker states, "The New World African's accommodation of the slavemaster's religion and the retention of Africanisms produced the Jesus-faith of the antebellum slave which remains identifiable today. That Jesus-faith which was preserved for posterity in the Spirituals served to insulate the antebellum slave from the real temptation of collective suicide. The Negro Spirituals fashioned in the slave warrens of the South provided the foundation which authenticated the Black religious experience."

Making particular reference to Black Christians, for example, to the overwhelming majority of freedmen becoming Baptists, it is considered attributable to the fact that the Black people were strongly attracted by the water rite of immersion and by the Baptist style of worship. "because they could identify points of continuity between their African heritage and Baptist practice." (All the written sources are acknowledged in the pertinent section's notes of my master's thesis. Please see them.)

If you are interested in Spirituals and Gospel Music, please read English translation of a part of my master's thesis "The Religion of Kokan: On Fushidansekkyo," namely, Chapter II. Evangelism in the Baptist Church, Section 2. Spirituals and Current of Gospel Sound.

Centering upon Fushidansekkyo You will see not only the material which I committed to paper, but also the audio and video material, if you would like to.

Go To Fushidansekkyo Audio Video Material Main Page in English

Audio Video Material A2-1, A2-2, A2-3, A1, A3-3, S1, S2 and S3 :
The Reverend Shonen Sobue

Audio Material G4-1, G4-2, G4-3, G1-1, G1-2, G1-3, M2 and M3 :
The Pastor Barbara Ward Farmer

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