A Break Room with Photos and 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?

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A haiku by Horst Ludwig

A background image description: Boats and a bridge.

The works of Charlie Smith

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

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.

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.

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.“

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.

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.

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

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.

• As of 08:50, June 19, 2009, JST, this Web page says "This page is currently under construction" in English.

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

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

• As of 09:27, June 19, 2009, JST, the above-mentioned URL does not work, receiving an Error 404 alert "Can't find the server www.bregengemme.com."

• As of 08:55, June 19, 2009, JST, this Web page says "A new Internet presence of Marion Naumann d´Alnoncourt will soon emerge here" in German, and it will redirect to another Web page about Ms. Naumann d´Alnoncourt titled "Gemeinschaft der Künstlerinnen und Kunstförderer e.V.," the URL of which is http://www.gedoknrr.de/?p=4&s=10&view=vita&id=63, where we can learn about her.

• As of 09:05, June 19, 2009, JST, the above-mentioned URL still works, but the current "wortartundlyrdicht.de" website no longer bears any relation to Ms. Ramona Linke.

• Recently (September, 2008), a pop-up window bearing no relation to Ms. Raab started being displayed over her Homepage.

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)

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:


"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:

"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 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 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

• Season Words (Kigo) - Asari [eine Japanische „Baby-Hals“ Klaffmuschel, a Japanese baby-neck (littleneck) clam], Awayuki [ein luftiger Schnee, light snow], Daidai [eine saure Orange, a sour (Seville, bitter) orange], Eho-dana [ein Altar von „der glückliche Richtung,“ für das Begrüßen von dem Gott (Kami) von einem wiederauflebenden Zyklus des Jahres (Toshigami ), in dem sich seine Eigenschaft als ein Getreidegeist (wie zum Beispiel ein Reisgeist im Reisanbaugebiet) mit seiner Eigenschaft als ein Ahnengeist vereint, an "auspicious direction" altar, more specifically, a New Year's special household altar for welcoming the god of the cycle of the year toward the resurgence of life (Toshigami ), who is said to come from the year's auspicious direction], Ebisu-matsuri [das Ebisu (der gott von der Schiffahrt und dem Fischfang und dem Handel) Fest, the Ebisu (god of shipping, fishing, commerce) Festival], Futobashi [special thick round chopsticks used on festive occasions], Ganjitsu [der Neujahrstag, New Year's Day], Gyokei [Neujahrsgrüße, New Year's greetings, felicitations], Kairaishi (also read as "Kugutsushi") [ein besuchender Ritualausführender (Überbringer eines Sagens) order ein Wanderkünstler, genannt Kairaishi, der ein Puppenspieler war, a Ritual Visitor or Strolling Player called Kairaishi who was a puppet master], Manzai [die besuchender Ritualausführenders genannt Manzai, die zusammen ein Komödien-Duo bilden und von Haus zu Haus beglückwünschend gehen, Ritual Visitors called Manzai who form a comedic duo and go about from door to door], Saruhiki [ein besuchender Ritualausführender (Überbringer eines Sagens) order ein Wanderkünstler, genannt Saruhiki, der ein Schausteller einer Affenausstellung war, a Ritual Visitor or Strolling Player called Saruhiki who put on a monkey show], Shihohai [das bedeutet, den regierende Göttern von den vier Himmelsrichtungen die Hochachtung zu erweisen, paying respect to the four quarters, more specifically, a practice of honoring Heaven and Earth and the four Taoist gods supposed to reign over the four points of the compass, for example, a Shinto ceremony held on New Year's Day in the Imperial Court, in which the Emperor pays respect to the deities in all quarters], Tsukushi [ein Halm des Zinnkrauts, a fertile shoot (stalk) of field-horsetail], Yabuiri [„die Rückkehr zu der Heimat bewachsen mit Gestrüpp (Yabu),“ der Begriff bezieht sich auf eine Gewohnheit seit der Edo Periode, in der die (verpflichtete, wohnhafte) Diener die Erlaubnis zu gehen nach Elternhäusern bekommen konnten, "Returning home overgrown with thickets (Yabu)," the term refers to a custom since the Edo period, in which (indentured, live-in) servants could get leave to go home to see their parents], etc.
  • Gwanjitsu ya Ihe ni yuzuri no Tachi haka n (Kyorai, Zoku Minashiguri)  • Ganjitsu (Gwanjitsu)
    On this happy occasion of New Year's Day, There has come down in my family A sword, which I shall bear. (A free and rather descriptive translation [hereinafter omitted])
  • Chomatsu ga Oya no na de kuru Gyokei kana (Yaba, Sumidahara)  • Gyokei
    Apprentice boy Chomatsu, having taken up his indentures and become a man, Under his inherited name from his father Came to make a New Year's call.
  • Yabuiri no Neru ya hitorino Oya no soba (Taigi, Taigi Ku Sen)  • Yabuiri
    On a holiday of servants A returned one's sleeping tight By a lone-parent.
  • • Manzai
    • Saruhiki in Issa's Haiku poem

2 Kisaragi

• Season Words (Kigo) - Asatsuki [ein Schnittlauch, a chive], Hatsu-uma [der erste Tag des Pferds, der nach dem Anfang des Frühlings zufolge des Mond-Sonne Kalenders kommt, the first Horse day that rolls around after the beginning of spring according to the luni-solar calendar], Kawazu (also read as Kaeru) [ein Frosch, a frog], Mizutori [das O-mizutori (Wasser Holend) Ritual, das als eine von den Feierlichkeiten des Shuni-e Diensts an der Todai-jis Nigatsu-do Halle in Nara um Mitternacht am zwölften Tag des zweiten Lunarmonats abgehalten wird. In dem O-mizutori Ritual holen die Mönche als eine Gabe duftendes Wasser (O-kozui) aus dem heilige Brunnen genannt Wakasa-i unter der Halle und bringen die zum Allerheiligstes, wo das hauptsächliche Bild, Kannon mit den Elf Gesichtern (Skt. Ekadasamukha Avalokitesvara), bewahrt wird, mit den großen, brennenden Fackeln den Gang beleuchtend, the O-mizutori (Water Drawing) ritual held as one of the functions of the Shuni-e Buddhist service at Nigatsu-do Hall of Todai-ji in Nara. This O-mizutori ritual is observed at midnight on the twelfth day of the second lunar month, in which monks draw scented water (O-kozui) from the sacred well called Wakasa-i below the hall as an offering and carry it to the sanctum where the principal image, Eleven-faced Kannon (Skt. Ekadasamukha Avalokitesvara), is enshrined, lighting the way with large burning torches.], Na-no-hana [die Rapsblume, the flower of rape], Nehan-e [das Nirvana Fest, das am fünfzehnten Tag des zweiten Monats zum Gedenken an dem Buddhas Hingang ausgeführt wird, the Nirvana Festival, the festival held on the fifteenth of the second month in commemoration of the death of the Buddha], Nembutsu-odori [das Nembutsu Tanzen, Nembutsu Dancing], Suzume no Ko [ein Spätzchen, a baby sparrow], Tanishi [eine Wattschnecke (Hydrobia ulvae), a mud snail (the family Viviparidae)], Tanpopo [ein Löwenzahn, a dandelion], Tsubame [eine Schwalbe, a swallow], Ukogi [ein Ginseng, a ginseng], Yamazakura [die Gebirgskirschblüten, mountain cherry blossoms], etc.
  • Te wo tsui te Uta moshiaguru Kahazu kana (Sokan, Arano)  • Kawazu (Kahazu)
    With its hands placed on the ground, Of reciting a poem before the nobleman The frog has all the appearance.
    The passage by Ki no Tsurayuki, "Hana ni naku Uguhisu, Mizu ni sumu Kahazu no Koe wo kikeba, Ikitoshiikerumono no izure ka Uta wo yoma zarikeru," finds mention in the Kana foreword of Kokin Shu.
    Note: There are two interpretive theories.
    
    (1) Listening to the song of a bush warbler which sings on the flowering branch and that of a frog which lives in water, I wonder who, be it mouse or man, has failed to recite a poem. No one. Every living thing has recited a poem.
    (2) Who, be it any one, could listen to the song of a bush warbler which sings on the flowering branch and that of a frog which lives in water without a feeling of wanting to recite a poem? No one. Everyone has recited a poem.
  • Yase-gaeru Makeru na Issa Kore ni ari (Issa, Shichiban Nikki)  • Kaeru (-gaeru)
    Scrawny frog, Hold hard there! Here comes Issa.
    "Kore ni ari" is the wording used by the samurai warrior when announcing himself (declaring his identity) to the enemy on the battlefield.
  • Mizutori ya Kohori no sou no Kutsu no oto (Basho, Nozarashi Kiko)  • Mizutori
    Water drawing ritual being held, Icy monks' Footsteps are heard from the hall in the middle of night.
    "Kohori no Sou (Koori no So)" [Icy Monk, Ice Monk] is a sentient expression representing the monks who apply themselves to religious austerities and keep vigil in the cold night.
  • Na-no-hana ya Tsuki ha higashi ni Hi ha nishi ni (Buson, Buson Ku Shu)  • Na-no-hana
    Above the rape field are seen The rising round white moon in the eastern sky And the setting red sun in the western heavens.
  • Ware to ki te Asobe ya oya no Nai suzume (Issa, Ora ga Haru)  • Suzume no Ko (Oya no nai Suzume)
    Come along and play With me [a motherless child], parent-Less sparrow.
  • Yufu-tsubame Ware niha asu no Ate ha naki (Issa, Bunka Ku Cho)  • Tsubame (-tsubame)
    Evening swallows going in and out of the nest, In contrast to me having An undependable tomorrow.

3 Yayoi

• Season Words (Kigo) - Ashibi no Hana [die Blume der Japanische Andromeda (Pieris japonica), the flower of Japanese andromeda (Lily of the Valley)], Azami [eine Distel, a thistle], Furakoko [die Schaukel, the swing], Hana [eine Blüte, a flower], Hana-mori [ein Blüte-Schützer, a flower guard], Hanashizume-no-matsuri [the Hanashizume Festival], Hina-asobi [das Spielen mit den Hina Puppen, playing Hina dolls], Joshi [das Puppenfest, das am dritten Tag des dritten Monats gefeiert wird, the Doll Festival, the festival on the third day of the third month], Kangaku-e [die „Lernen-Förderung“ Versammlung, die auf Mount Hiei in dem dritten Monat und dem neunten Monat abgehalten wird, an der 20 Tendai Priesters und 20 Scholars von der Akademie der Literatur teilnehmen, the "Learning-encouragement" Meeting, more specifically, the meeting held in the third and ninth months on Mount Hiei with the participation of 20 Tendai priests and 20 students of the academy of literature], Kinsenka [eine Ringelblume, a pot marigold (Calendula officinalis)], Kinpoge [eine Butterblume, a buttercup], Mibu Nembutsu [dieser Begriff oft bezieht sich auf das stillschweigende Spiel (die Pantomime), gennant „Nembutsu Kyogen“ oder „Mibu Dai Nembutsu Kyogen,“ das während des Nembutsu Diensts an dem Mibu Tempel aufgeführt wird, refers often to a silent play (pantomime) called "Nembutsu Kyogen" or "Mibu Dai Nembutsu Kyogen" performed during a Nembutsu Service held for several days at the Mibu Temple], Sakura [die Japanische Kirsche, Japanese cherry], Sakuragai [eine Art von „Zimmermanns Plattmuschel“ (Nitidotellina nitidula), a kind of carpenter's tellin], Yamabuki [eine Japanische Rose (Kerria japonica), a Japanese rose], Yuku-haru [der abfahrende Frühling, the departing spring], etc.
  • Furakoko no Eshaku koboruru ya Takami yori (Taigi, Taigi Ku Sen)  • Furakoko
    A young lady on the swing Greets, with the overflowing radiance spilling down, From on high.
  • Hana-mori ya Shiroki kashira wo Tsukiahase (Kyorai, Komo Jishi Shu)  • Hana-mori
    Old flower guards under the cherry blossoms are talking, With their hoary head leant Towards each other.
  • Horohoro to Yamabuki chiru ka Taki no oto (Basho, Ohi no Kobumi)  • Yamabuki
    Gently to the ground Japanese rose petals are drifting In the roar of a waterfall.
  • Yuku-haru ya Omotaki buwa no Dakigokoro (Buson, Gosha Hogu)  • Yuku-haru
    In mourning the passing of spring, turn I for comfort to the biwa play, But the biwa feels heavy In my arms.
    [Biwa is a Japanese lute with a bent neck and four or five strings.]
  • • Hina

Summer - The three summer months

4 U-zuki

• Season Words (Kigo) - Aoi-matsuri [das Aoi (Stockrose) Fest, das Fest geht unter dem Namen „Aoi-matsuri“ wegen seiner bezeichnenden Stockrosen-Dekoration, obgleich es das Fest der Kamigamo- und Shimogamo-Heiligengräber (Kamo-no-matsuri) ist, the Aoi (Hollyhock) Festival, the festival goes by the name "Aoi-matsuri" because of its distinctive hollyhock leaves decoration, though it is the festival of Kamigamo and Shimogamo Shrines (Kamo-no-matsuri)], Amagaeru [ein Laubfrosch, a tree frog (Hyla arborea)], Aosudare [ein grüner Fenstervorhang aus Bambus, a green bamboo blind (screen)], Hototogisu [a little cuckoo, (Cuculus poliocephalus)], Kakitsubata [a rabbit-ear iris (Iris laevigata)], Kanbutsu [das bedeutet, eine Statue des Kleinkinder-Buddhas mit dem süße Hortensien-Tee am achten Tag des vierten Monats zu bestreuen (man könnte das „Baden“ nennen), um seinen Geburtstag zu feiern, "Sprinkling the Buddha," sprinkling sweet hydrangea tea on an image of the infant Buddha to celebrate his birthday on the eighth day of the fourth month], Koromogae [ein jahreszeitlicher Wechsel der Kleidung, a seasonal change of clothing], Kumo no Ko [a baby spider], Miyakogusa [a bird's-foot trefoil (Lotus corniculatus var. japonicus)], Mugikari [das Weizenmähen, cutting barley or mowing wheat], Natsu-kusa [Sommer-Gräser, summer grasses], Natsu-kodachi [ein Gehölz im Sommer, a grove in summer], Wakaba [frisches Grün, fresh verdure], etc.
  • Hototogisu Koe yokotafu ya Mizu no ue (Basho, Fuji no Mi)  • Hototogisu
    The note of a little cuckoo having flown away Lay spread out and lingered Over the water.
    The line, "Suiko Ten ni tasshi, Hakuro Ko ni yokotaharu," finds mention in the first Fu on the Chibi [Red Cliffs] by Su Shi (1036-1101), a scholar of literature and leading poet of the Sung dynasty, China, whose pseudonym is Su Dongpo (Su Tung-p'o).
  • Hitotsu nuide Ushiro ni oi nu Koromogahe (Basho, Ohi no Kobumi)  • Koromogae (Koromogahe)
    Having lightened my clothing by a layer, With the removed on my back, Koromogae is done.
  • Natsu-kusa ya Tsuhamonodomo ga Yume no ato (Basho, Oku no Hosomichi)  • Natsu-kusa
    Summer grasses Are all that remains After a fleeting dream of those who had fought for distinction and reveled in glory.
  • Kitsutsuki mo Iho ha yabura zu Natsu-kodachi (Basho, Oku no Hosomichi)  • Natsu-kodachi
    Even the woodpecker has Left unhollowed this hut, a silent presence In a summer grove.
  • U-no-hana no Taema tataka n Yami no kado (Kyorai, Sumidahara)  • U-no-hana
    Seen dimly white utsugi flowers, I shall knock at a rift in them, which might be A gate in the dark night.
  • Fuji hitotsu Uzumi nokoshi te Wakaba kana (Buson, Buson Ku Shu)  • Wakaba
    Only snow-capped Mount Fuji Left alone, all is Covered with fresh verdure.
  • • Kanbutsu

5 Satsuki

• Season Words (Kigo) - Aji [Japanische Bastardmakrele, Japanese horse mackerel], Ajisai [eine japanische Hortensie, a Japanese hydrangea], Anzu [an apricot], Kanoko [ein Kitz, a fawn], Kuwa no Mi [a mulberry], Kyuri [eine Gurke, a cucumber], Nemu no Hana [die Blume von dem Albizia julibrissin Baum, dessen gegenüberliegende Blätter bei Dunkelwerden sich schließen und sich verbeugen, als ob der Baum im Schlaf wäre, the flower of a silk tree, the opposite leaves of which close and bow downward at nightfall, as if the tree were in sleep], Samidare (also read as "Satsukiame") [der Frühsommerregen, ein anhaltender Regen in dem fünften Lunar-Monat, the early summer rain, a long rain in the fifth lunar month], Semi [eine Zikade, a cicada], Shobu no Yu [ein Duftbad mit den Blättern der Schwertlilie, a bath scented with iris leaves], Tango [das Knabenfest, das am fünften Tag des fünften Monats gefeiert wird, the Boy's Festival, the festival on the fifth day of the fifth month], Utsusemi [die (zurückgelassenen) leere Larvenhaut der Zikade, the cast-off skin of a cicada], Yana Utsu [die Fischreuse zu stellen, placing the fish weir], etc.
  • Kisagata ya Ame ni Seishi ga Nebu no hana (Basho, Oku no Hosomichi)  • Nemu no Hana (Nebu no Hana)
    Kisagata cove, Dim in the rain, of Lady Seishi with closed eyes in musing Is reminded the bowing nemu flower.
    The line of a poem, "Moshi Seiko wo tori te Seishi ni hi seba, Tansho Nomatsu futatsu nagara ai yoroshi," finds mention in the poem entitled "Yin Hushang Chu Qing Hou Yu Er Shou " in two cantos by Su Shi (1036-1101), a scholar of literature and leading poet of the Sung dynasty, China, whose pseudonym is Su Dongpo (Su Tung-p'o).
  • Samidare no Sora fukioto-se Ohoi-gaha (Basho, Arisoumi)  • Samidare
    A long spell of rain in early summer, Blow off the overcast, rainy sky by the raging force of yours! The River Oi.
  • Yuku mizu ya Take ni semi naku Shokoku-ji (Onitsura, Satoe Nanakuruma)  • Semi
    Along a stretch of the stream A bamboo grove stands, and therein sing the cicadas In the Shokoku Temple.

6 Mi-na-zuki

• Season Words (Kigo) - Amagoi [das Darbringen von Gebeten für den Regen, offering prayers for rain], Ao-hozuki [a green ground cherry], Gama no Ho [die Ähre des Breitblättrigen Rohrkolbens, a cattail spike (cattail: Typha latifolia)], Gion-e [das Gion Fest, das ein Fest des Yasaka Heiligengrabs ist, the Gion Festival that is a festival of Yasaka Shrine (originally, the festival was held in an effort to appease the "curse" or to stop the spread of epidemics)], Itsukushima-matsuri [das Itsukushima Fest, das ein Fest des Itsukushima Heiligengrabs mit der alte feierliche Hofmusik von Japan (Gagaku) ist, the Itsukushima Festival, a festival of Itsukushima Shrine with ancient ceremonial Court music of Japan (Gagaku)], Kemushi [a woolly caterpillar], Kumo no Mine [eine erhöhte Sommerwolke wie eine Bergspitze, a lofty summer cloud like a mountain peak], Kuzu no Hana [the flower of kudzu (Pueraria lobata)], Makuwa-uri [an edible Oriental sweet melon (Cucumis melo var. makuwa)], Mushiboshi [ein Lüften im Sommer, a summer airing], Semishigure [ein Zikadenchor oder der Gesang der Zikaden, a chorus of cicadas or the singing of the cicadas], Suzumi [sich an der Abendkühle zu erfreuen, to enjoy the cool of the evening], Yugao [ein Flaschenkürbis, a white flowered gourd (Lagenaria siceraria var. hispida)], etc.
  • Kumo no mine Ikutsu kuzure te Tsuki no yama (Basho, Oku no Hosomichi)  • Kumo no Mine
    How many cumulonimbus clouds, Having piled up and caved in, Made Mount Moon (Gassan) worthy of the name?
  • Hito kitara Kahazu to nare yo Hiyashi-uri (Issa, Shichiban Nikki)  •Hiyashi-uri [A chilled Makuwa-uri]
    If anyone comes, Turn yourself into a frog so as not to be eaten,  Sweet melon in cold water.

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)

• Season Words (Kigo) - Ama-no-gawa [the Milky Way], Chugen [der fünfzehnte Tag des siebten Monats zufolge des Mond-Sonne Kalenders, the fifteenth day of the seventh month according to the luni-solar calendar], Asagao [eine Japanische Prunkwinde (Ipomoea [Pharbitis] nil), a Japanese morning glory], Higurashi [a clear-toned (green-colored) cicada], Hiyayaka [kühl (zu frösteln), cool (to feel chilly)], Ise-odori [das Ise Tanzen, Ise Dancing], Kirigirisu [eine Langfühlerschrecke (Gampsocleis buergeri), a long-horned grasshopper], Mukuge [ein Roseneibisch (Hibiscus syriacus), a rose of Sharon], Nihyakutooka [der 210te Tag seit dem ersten Tag des Frühlings nach dem Mond-Sonne Kalender oder „der Tag des Sturms,“ the 210th day from the first day of spring according to the luni-solar calendar or the "storm day"], Okuribi [das feierliche Feuer, das am Abend des letzten Tags des Bon Fests angezündet wird, damit in dem Schicken von den Geistern der Toten zurück reibungslos und schnell vorangekommen werden kann, ceremonial fires lit on the evening of the last day of the Bon Festival to speed the spirits of the dead on their way], Segaki [a Bon rite of offering food to relieve the suffering of those who are in the realm of hungry spirits (Gaki)], Toro [a lantern], Ukon no Hana [the flower of turmeric], Umaoi [eine Langfühlerschrecke (Hexacentrus japonicus), a long-horned grasshopper], Urabon-e [der Urabon (oder „Bon“ in einfacher Weise, wie oben genannt) Dienst, der eine buddhistische Überlieferung ist, der für die Ruhe der Toten abgehalten wird, the Urabon (or simply "Bon" as called above) Festival, a Buddhist Service for the repose of the dead (See Urabon-e)], etc.
  • Araumi ya Sado ni yokotafu Ama-no-gawa (Basho, Oku no Hosomichi)  • Ama-no-gawa
    Away across the heavy sea Floats the penal island of Sado and above it across the sky Extends the Milky Way.
  • Asagaho ni Tsurube tarare te Morai-mizu (Chiyoni, Chiyoni Ku Shu)  • Asagao
    Morning glory Taking a well bucket before me, I asked my neighbor for water.
  • Fumi-zuki ya Muika mo tsune no Yo niha ni zu (Basho, Oku no Hosomichi)  • Fumi-zuki
    In the seventh month, with thought of the Star Festival, The evening of the sixth day Differs from any other night.
  • Hiyahiya to Kabe wo fumahe te Hirune kana (Basho, Ohi Nikki)  • Hiyayaka (Hiyahiya)
    It's nice to feel the coolness Of the wall under my feet, Throwing myself down and taking a nap.
  • Muzan ya na Kabuto no shita no Kirigirisu (Basho, Oku no Hosomichi)  • Kirigirisu
    How cruel and tragic! Under the helmet belonged to a fallen old warrior [Sanemori] A long-horned grasshopper's chirping.
    The line of the Higuchi Jiro part, "Ana muzan ya na Saito Betto Sanemori nite sourahikeru zo ya," finds mention in a Noh song (Yokyoku) titled "Sanemori."
  • Michinobe no Mukuge ha uma ni Kuware keri (Basho, Nozarashi Kiko)  • Mukuge
    Wayside flowers of Mukuge have, by a horse I'm riding on, Gotten eaten up.
    Mukuge is thought to be the transient. The line of a poem, "Kinka Ichi-jitsu Onozu kara Ei wo nasu," finds mention in the poem entitled "Fang Yan " in five cantos by Bai Juyi (772-846), a poet of the Tang dynasy, China, in the Middle Tang period, who is also known as Bo Juyi, Po Chu-i, etc., and whose works have a significant impact on Japanese literature, including the literature of the Heian period.
  • • Toro

8 Ha-zuki

• Season Words (Kigo) - Akebi [an akebi (Akebia quinata)], Aki no Kure [spät im Herbst, late in autumn], Ashi no Hana [the flower of reed], Hassaku [der Tag, an dem die Krieger die Geschenke (wie zum Beispiel Schwerter und Pferde) austauschten und die Huren in Yoshiwara die weiße Kimono Kleider (Hochzeitskleider) anzogen, the day when Samurai warriors exchanged presents (such as swords and horses) and the harlots in Yoshiwar put on pure-white Kimono dresses (wedding gowns)], Inataba [ein Reisbündel, a bundle of rice plants], Izayoi-zuki [ein „sechzehn Tage alter“ Mond, a sixteen-day-old moon], Kari [die Wildgänse, Wild geese], Kaya Karu [das Abmähen von Pflanzen der Gras- oder Segge-Familie, die als Dachstoff einstmals verwendet wurden, scything plants of the grass or sedge family that were formerly used as roofing material], Kinuta [Ein Pochen Arbeitstisch, der verwendet wird, um ein Kimono-Tuch angenehm und glänzend zu machen, order die Gepflogenheit, an das Kimono-Tuch im Zeitablauf mit großer Sorgfalt zu pochen, dessen Ton schwermütig ist, a pounding bench used for making a kimono cloth soft and lustrous or the practice of pounding the kimono cloth over time with great care, the sound of which is plaintive] (See drawing below), Meigetsu [ein Vollmond in der fünfzehnte Nacht des achten Lunar-Monats, der einer der schönsten im Jahresverlauf ist, a full moon on the fifteenth night of the eighth lunar month, which is one of the most beautiful of the year], Nowaki (also read as Nowake) [ein starker Herbstwind order ein Taifun im Frühherbst, a fierce autumn wind or a typhoon in the early autumn], Shoro [ein Shoro Pilz, a Shoro mushroom (Rhizopogon rubescens)], Tachiuo [Atlantic cutlassfish (Trichiurus lepturus)], Wataridori [ein Zugvogel, a migratory bird], Yamagara [eine Meise, a titmouse (Parus varius)], etc.
  • Shini mo se nu Tabine no hate yo Aki no kure (Basho, Nozarashi Kiko)  • Aki no Kure
    Still not dead, I made it all the way to the end of my journey to find The autumn drawing on.
  • Kefu kara ha Nihon no kari zo Raku ni ne yo (Issa, Shichiban Nikki)  • Kari
    From today on, until the spring, You're going to be the geese in Japan, Take a good rest.
  • Meigetsu ya Kado ni sashikuru Shiho-gashira (Basho, Mikazuki Nikki)  • Meigetsu
    The full moon being shining beautifully, In a canal near the gate of the hut are seen The shimmering wave crests.
  • Tobadono he Goroku-ki isogu Nowaki kana (Buson, Buson Ku Shu)  • Nowaki
    In the direction of an Imperial villa in Toba, Five or six armored warriors gallop atop their horses through, A fierce autumn wind sweeps across.
  • • Kinuta

9 Naga-tsuki

• Season Words (Kigo) - Aki no Shimo [der Reif im Herbst, the white frost (rime) in autumn],Ajiro Utsu [das Stellen der Korbflechtwaren-Fischreuse, placing a wickerwork fish trap], Azuki Hiku [grinding adzuki beans], Hashibami [a hazel], Ichijiku [a (common) fig], Igaguri [chestnuts in the burr], Ikutama-matsauri [the Ikutama Festival, a festival of Ikutama Shrine held in the ninth month], Kangaku-e [die „Lernen-Förderung“ Versammlung wird, wie oben erwähnt, auf Mount Hiei in dem dritten Monat und dem neunten Monat abgehalten, the "Learning-encouragement" Meeting held in the third and ninth months on Mount Hiei as mentioned above], Kugatsujin [Der letzte Tag des neunten Monats, an dem der Herbst endet, the last day of the ninth month, on which autumn ends], Kurumi [a walnut], Shinmai [the first rice of the year], Yo-samu [die Kälte der Nacht im Spätherbst order jene Jahreszeit, the night cold in late autumn or that time of year], Yuku-aki [der abfahrende Herbst, the departing autumn], Yuzu-miso [eine süß schmeckende Sojabohnepaste (Miso) mit Zitronegeschmack, a sweet citron-flavored soybean paste (Miso)], etc.
  • Te ni tora ba kie n Namida zo atsu-ki Aki no shimo (Basho, Mozarashi Kiko)  • Aki no Shimo
    When taking the hair of my deceased mother in my hand, it'd melt away evanescently, For my tears are scalding,  Her white hair is like an early frost.
    This Haiku poem is composed in a "Sandan-gire " style [a three-cut-up style], which, with terminative intervals (in terms of compositional-grammatical attributes of Haikai poetry), severs a poem into three portions, in this case, (1) Te ni tora ba kie n [If I take it, it will disappear] with Hypermeter (Ji-amari), (2) Namida zo atsu-ki [Tears are hot], and (3) Aki no shimo [The white frost in autumn], and, it is said, by means of which an imminent sorrow is effectively expressed.
    Note: In the above Haiku poem by Basho, a poem is cut into three portions marked out straightforwardly with diverse parts of speech — "kie n [will disappear, shall dosappear]" is a verb with a conjectural auxiliary verb "mu (n)," "atsu-ki [hot]" is an adjective in its attributive form that becomes terminative by reference back to a binding (linking) particle "zo" appearing earlier in the portion, and "shimo [a frost]" is a noun. But the prominent example of "Sandan-gire" would be the one in which each separate portion is marked out specifically with a noun as seen in a Haiku poem in Hakusen Shu, "Nara nanae Shichi-do garan Yaezakura" — "nanae [the seven-ply (referring to seventy years and seven generations, or the seventy years' reigns of seven Emperors)]" is a noun, "garan [a Buddhist convent or monastery]" is a noun, and "Yaezakura [a double-flowered cherry]" is a noun.
    cf. Akira Muramatsu and Akiho Yamaguchi and Toshimasa Wada eds., Kogo Jiten, Revised and New Edition (Japan: Obun Sha, 1988). Akira Muramatsu ed., Daijirin, Second and Desk Edition (Japan: Sanseido, 1995).
  • Kiku no ka ya Nara niha huruki Hotoketachi (Basho, Ohi Nikki)  • Kiku
    The scent of the chrysanthemum fills the air, There reside in the southern capital Nara the ancient Buddhas as divine as they were ever.
  • Kugwatsujin Haruka ni Noto no Misaki kana (Kyotai, Kyotai Ku Shu)  • Kugatsujin (Kugwatsujin)
    On the day that autumn ends Far away across the northern sea of boundless expanse Lies Noto Peninsula.
  • Ichinin to Chomen ni tsuku Yo-samu kana (Issa, Issa Hokku Shu)  • Yo-samu
    "One," Entered the number of guests in a hotel register, Adds greatly to the night cold.
  • Hamaguri no Futami ni wakare Yuku-aki zo (Basho, Oku no Hosomichi)  • Yuku-aki
    Like the clam's Futa and mi, having a difficult parting from persons close to me, for Futami I'm leaving, with the departing autumn.
    The "futami" in this Haiku poem is a play on words linking the word "futa-mi" ("futa" [shell] and "mi" [meat]) of the clam and the place-name "Futami" of Futami-ga-Ura beach in Ise where clams are a speciality, and, furthermore, the "yuku" plays on senses of words linking the sense "parting" by reading "yuku" [go, leave, depart, etc.] as implying "separation" and, obviously, the sense "departing" of "yuku-aki" [the departing autumn].

Winter - The three winter months

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

• Season Words (Kigo) - Hiiragi no Hana [The flower of holly], Kami-ari [„die Götter sind dabei,“ "gods being present"], Kami-tsudoi [die Versammlung der Götter, a gathering of gods], Kanbai [early Japanese plum blossoms], Kangiku [die Winter-blühende Wucherblumen, the winter blooming chrysanthemums], Kare-obana [verwelkte Silver-Gräser, die wie Pampasgräser aussehen, withered silver grasses (Japanese silver grass: Miscanthus sinensis)], Kogarashi [ein kalter, winterlicher Wind, a cold wintry wind], Konpira-matsuri [das Konpira (die Schutzgottheit von der Seefahrer) Fest, the Konpira (guardian deity of seafarers) Festival], Koromogae [ein jahreszeitlicher Wechsel der Kleidung, a seasonal change of clothing], Sazanka [a sasanqua (camellia)], Soba Karu [das Buchweizenmähen, mowing buckwheat], Suisen no Hana [the flower of narcissus], etc.
  • Kangiku ya Konuka no kakaru Usu no hata (Basho, Sumidahara)  • Kangiku
    Winter blooming chrysanthemums Are lightly dusted with fine powder Beside a mortar.
  • Kitsunebi no Moetsuku bakari Kare-obana (Buson, Buson Ku Shu)  • Kare-obana
    Many a blue colored will-o'-the-wisp, having begun flaring, Seems on the verge of setting The withered silver grasses afire.
  • Kogarashi no Chi nimo otosa nu Shigure kana (Kyorai, Kyorai Sho)  • Kogarashi
    By the side-blowing cold wintry wind Is hindered to reach the ground A drop of light rain.
  • Hatsu-shigure Saru mo komino wo Hoshige nari (Basho, Saru Mino)  • Hatsu-shigure [the first Shigure]
    In the first light shower of rain Monkey has a look of longing for a small straw raincoat On its face.

11 Shimo-tsuki

• Season Words (Kigo) - Buri [Yellowtail], Hachitataki [ein besuchender Ritualausführender order ein Wanderkünstler, genannt Hachitataki, brachte einen Klang durch Anschlagen von einer Schale (Hachi) order einem Flaschenkürbis (er wird verwendet, um einer Hachi ähnlich sehen) hervor und rezitierte das Nembutsu von Kuya (903-972), um Spenden für religiöse Zwecke bittend, a Ritual Visitor or Strolling Player called Hachitataki who made a sound by hitting a bowl (Hachi) or a gourd (it is used to resemble a Hachi) and recited the Nembutsu of Kuya (903-972), soliciting contributions for religious purposes], Hakamagi [a celebratory event for 5-year old male children to wear their formal "Hakama" trousers for the first time], Kamioki [a celebratory event for 3-year old children to be allowed to grow their hair long], Niiname-matsuri (also read as "Niiname-sai" and "Shinjo-sai") [das Erntedankfest, the Harvest Festival, for example, in the Imperial Court, the year's first harvest is first offered to the god and then shared with the Emperor], Obitoki [a celebratory event for 7-year old female children to wear their Obi sashes for the first time], Tamashizume-matsuri [Das „Geist-Beruhigung“ Ritual, das ausgeführt wird, damit der Geist/die Seele den Körper nicht verläßt, the "Spirit-pacification" Ritual, this "pacifying and stabilizing the spirit/soul" ritual is given for fear that the spirit/soul that dwells in the body might leave the body], Toji [die Winter Sonnenwende, the winter solstice], Tori no Ichi [das „Hahn-Markt“ Fest, das am jeden Tag des Hahns in dem elften Monat abgehalten wird, the "Tori-no-Ichi" Fair held at Otori Shrine on each Day of the Cock in the eleventh month], Yukinoshita [a strawberry saxifrage], etc.
  • Iza saraba Yukimi ni korobu Tokoro made (Basho, Hanatsumi)  • Yukimi
    Well, then, Let's go For snow-scene viewing, till we slip and fall, Just keep on going.
  • • Hachitataki

12 Shiwasu

• Season Words (Kigo) - Haru wo Matsu [das Warten auf den Frühling, waiting for spring], Hiiragiuri [ein Stechpalmenverkäufer oder eine Stechpalmenverkäuferin, a holly tree seller], Iwashi no Kashira Sasu [das bedeutet, den Kopf (das Auge) einer sonnengetrockneten Sardine mit einem Zweig der Stechpalme zu durchstechen, um das Übel zu abwenden, pricking the head (eye) of a sun-dried sardine with a twig of holly in order to ward off evil —That has become proverbial as follows: Even the head of a sardine can ward off evil to someone who's convinced it can (Anything can be a good-luck charm if a person is convinced it is)], Joya [das Sylvester, New Year's Eve], Kangetsu [ein Wintermond, der besonders glänzend zu sein scheint, a winter moon that seems to be shining particularly brightly], Kan no Uchi [die Dauer der kälteste Zeit des Jahres, the period of the coldest time of the year], Karazake [ein lufttrockener Lachs ohne Salzzusatz, der eine Spezialität der Nordgegend ist, an air-dried salmon with no salt added, which is a specialty of the northern region], Koto-osame [die Schließung von den Dingen des Jahres (einschließlich der Arbeiten und Aktivitäten), the closing of things (including works and activities) for the year], Mochitsuki [die Herstellung von Reis-Kuchen (Mochi) durch stampfend den gedämpften Reis mit einem Holzhammer, pounding steamed rice with a mallet into rice cake (Mochi)], Mosochiku [a Moso bamboo (Phyllostachys pubescens)], Susuharai [„das Auffegen des Rußes“ (das jährliche Reinemachen zum Jahresende hervorgeht aus einem Religionsbrauchtum, daß die Leute die Altäre in ihren Häusern und die Zimmer säuberten, um Toshigami zu hereinführen), "Sweeping the soot off," this annual year-end cleanup tradition, called Susuharai, originates from a religious custom in which people cleaned their household altars and rooms to usher in Toshigami (See Toshigami)], Toshi no Kure [das Jahresende, the year-end], Yuku-toshi [the old (dying) year], etc.
  • Kangetsu ya Ware hitori yuku Hashi no oto (Taigi, Taigi Ku Sen)  • Kangetsu
    Under the wintery moon I walk alone late at night, There's only the clatter of my clogs resounding on the bridge.
  • Karazake mo Kuya no yase mo Kan no uchi (Basho, Saru Mino)  • Kan no Uchi and Karazake
    The specialty dried salmon and The gaunt figure of a monk of the Nembutsu sect of Kuya, both convey An even stronger sense of the rigors of winter in the kan no uchi.
  • Tabine shi te Mishi ya ukiyo no Susuharai (Basho, Ohi no Kobumi)  • Susuharai
    On my journey, Oh, I have watched the worldly bustling Susuharai.
  • Nani ni kono Shihasu no ichi ni Yuku karasu (Basho, Hanatsumi)  • Shiwasu (Shihasu)
    Why on earth, To the irksome, packed year-end town, The crow is now going?
  • Toshi kure nu Kasa ki te waraji Haki nagara (Basho, Nozarashi Kiko)  • Toshi no Kure (Toshi kure nu)
    The year ended with me Still wearing a straw lampshade hat And putting on straw sandals.

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.

• kana, ya, shi, zo, ka, monashi, mogana, keri, nu, ji, mu (n) — an auxiliary verb (conjectural, volitional, etc.), as n of "Teni tora ba kie n" (conjectural) and as n of "Tachi haka n" and "Taema tataka n" (volitional) in above instances, wo, sazo, isa, itsu, ikade, izure, iku, yo, koso — a demonstrative binding (linking) particle, ha, geji (referring to "being in an imperative form").

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

• Basho (Baseu): Matsuo Basho (1644-1694), a Haiku poet in the Early Edo period. His other pseudonyms - Tosei, Furabo, etc. His autonym - Matsuo Munefusa. The native province - Ueno in Iga (now Mie Prefecture). The idiom of Basho - He is said to have established a distinguished original literary style, placing a high value on the beauty of "Tranquility (Kanjaku )" with refinement or elegance, such as austere refinement or austere elegance, and raised the popular seventeen-syllable verse (having a 5-7-5 syllabic form), or the Haiku poetry, to the realm of art.
• Buson : Yosa Buson (1716-1783), a Haiku poet and painter in the Middle and Late Edo period. His other pseudonyms - Saicho (initially-used), Yahantei, etc. The family name of his autonym - Taniguchi. The native province - Settsu (now Osaka Fu). The idiom of Buson - His literary style is said to be tableau (pictorial) and romantic. As a painter in the literary artist's style (Bunjin-ga), Buson ranks with Ike Taiga (1723-1776) who was a Nan-ga painter and perfector of a Japanese-style Bunjin-ga painting.
• Chiyoni : Kaga no Chiyo (1703-1775), a Haiku poet in the Middle Edo period. Her another appellative name - Chiyojo. The native province - Matsuto in Kaga (now Ishikawa Prefecture). She is said to have been found by the Early and Middle Edo Haiku poets, Kagami Shiko (1665-1731) and Naito Rosen (1655-1733), when they were on a tour to the Hokuriku area. But her life is half-legendized, and remains incompletely known. The idiom of Chiyoni - Her literary style is said to have her flashes of brilliance and fine sentiments, whereas it is said to have little depth.
• Issa : Kobayashi Issa (1763-1827), a Haiku poet in the Late Edo period. His autonym - Kobayashi Nobuyuki, commonly known as Yataro. The native province - Kashiwabara in Shinano (now Nagano Prefecture). The idiom of Issa - He is said to have established a unique and original literary style full of the human touch, representing emotions in his sincere and raw form, though rough. He often composed Haiku poems with his compassionate eyes toward the weak.
• Kyorai : Mukai Kyorai (1651-1704), a Haiku poet in the Early and Middle Edo period and one of "Shomon Jittetsu (Seumon Jitsutetsu)" [The ten great minds of the Basho School]. His another pseudonym - Rakusha. His autonym - Mukai Kanetoki. The native province - Nagasaki. The idiom of Kyorai - His literary style is said to have a lofty tone, having inherited and observed the way of his master Basho.
• Kyotai (Keutai): Kato Kyotai or Kumura Kyotai (1732-1792), a Haiku poet in the Middle and Late Edo period and one of "Tenmei Shi Haijin" [The four great Haiku poets of the Tenmei era]. His other pseudonyms - Bouko, etc. The first name of his autonym - Kanetaka. The native province - Owari (now Nagoya). The idiom of Kyotai - He is said to have an elegant and graceful literary style, which had a profound influence on the Haiku circles in Owari and westward of Owari.
• Onitsura : Uejima Onitsura or Kamijima Onitsura (1661-1738), a Haiku poet in the Middle Edo period. The first name of his autonym - Munechika. The native province - Itami in Settsu (now Hyogo Prefecture). The idiom of Onitsura - He is said to have composed sublime Haiku poems in his pursuit of the "true" Haiku poetry, which would sing of the deep feelings of a poet with adhering neither to the appearance of a phrase nor to the word, after the realization in 1685 that "Only by a true heart, the Haikai poetry is subsistent (Makoto no hoka ni Haikai nashi)."
• Sokan : Yamazaki Sokan (dates of birth and death unknown), a Renga poet and Haiku poet in the later part of the Muromach period (the Muromachi period: 1336-1573). His autonym - Shina Norisuke. The native province - Omi (now Shiga Prefecture). He is considered to be the father of the Haikai poetry, the intrinsic qualities of which are "the Unconventional and Detached (Hyoitsu )" and "the Comic (Kokkei )," including a playful linked verse (Renga: 5-7-5 and 7-7) as a form of a 31-syllable Japanese poem (Waka: 5-7-5-7-7) and a 17-syllable Japanese poem traditionally containing a reference to the seasons (Haiku: 5-7-5).
  Speaking of the Comic, have you read Redeeming Laughter, in which Dr. Peter L. Berger sets forth the Comic as a signal of transcendence?
  Peter L. Berger, Redeeming Laughter: The Comic Dimension of Human Experience (Berlin: Walter de Gruyter & Co., 1997).
• Taigi : Tan Taigi (1709-1771), a Haiku poet in the Middle Edo period. The native province - Edo (now Tokyo). Tan Taigi and Yosa Buson were the soul of the Haiku circles in the Tenmei era of the Edo period. The idiom of Taigi - His literary style is said to be characterized by sensitivity and exquisite techniques.
• Yaba : Shida Yaba (1663-1740), a Haiku poet in the Middle Edo period and one of "Shomon Jittetsu (Seumon Jitsutetsu)." The family name of his autonym - Takeda. The first name - commonly known as Yasuke. The native province - Echizen (now Fukui Prefecture). The idiom of Yaba - His literary style is said to be light, lambent, and earthly.

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.

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.

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?

The works of Richard Kett

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: 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: 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.

From Richard Kett's Book Project AGikuyu

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.

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.

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.

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.)

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.

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

• A2-1: About Tune [Cadence] (.mov, .rm, .aif, .mp3)
• A2-2: About his first preaching at the age of 8 (.mov, .rm, .aif, .mp3)
• A2-3: "Nothing is left if Amida Buddha is taken away from me." (.mov, .rm, .aif, .mp3)
• A1: About the frame of mind when he decided to be a "preacher" that shepherds the people (.mov, .rm, .aif, .mp3)
• A3-3: About the "beautiful voice," the narrative power and the tune (.mov, .rm, .aif, .mp3)
• S1: Fushidansekkyo from "Shinran Shonin den": Resting his head on a stone in the snow (.mov, .rm, .aif, .mp3)
• S2: Fushidansekkyo from "Shinran Shonin den": Refusing to receive his own son Zenran (.mov, .rm, .aif, .mp3)
• S3: Fushidansekkyo from "Shinran Shonin den": Mountain priest Bennen O my heart was changed forever (.mov, .rm, .aif, .mp3)

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

• G4-1: The first time that music was mentioned in the Bible: Genesis Chapter 31, Verses 26 and 27 (.aif, .mp3)
• G4-2: In a religious context: Exodus Chapter 15, Verses 1 and 2 (.aif, .mp3)
• G4-3: Singing was the act of communicating with God - Psalms (.aif, .mp3)
• G1-1: The Black experience (.aif, .mp3)
• G1-2: This [Music] belongs to the Lord (.aif, .mp3)
• G1-3: The Father of Gospel Music (.aif, .mp3)
• M2: Gospel Mission Work - with a Japanese Baptist pastor (.aif, .mp3)
• M3: Gospel Mission Work "If God Be For Us!" (.aif, .mp3)

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