A Break Room with Photos and Haiku Poems

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 Nani koso tate-re Sakurabana Toshi ni marenaru Hito mo machi keri" by Unknown (Kokinshu [Kokinwakashu], Spring, no. 62) [(a free translation) The cherry blossom is noted for its fickleness. Even so, it has awaited a man who rarely comes in the space of a year. Die Kirschblüte ist für ihre Unbeständigkeit bekannt. Allerdings (Jedoch) hat sie einen Mann erwartet, 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.

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, in the main, give examples specific to each month.

A brief mention of each of the Haiku writers (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 letters indicate the first letters (sounds) in the seven-and-five syllable meter (5-7-5) characteristic of Japanese poetry, while wide spacings between the words indicate where the significant Kugire intervals appear 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 (in the case of my Macs).

Grünfarbene Buchstaben deuten darauf hin, daß die die erste Buchstaben (Sprachlaute) in dem sieben-und-fünf Silben Metrum (5-7-5), das ein bezeichnender Zug in der japanischen Dichtung ist, sind. Die breite Leerräume zwischen die Wörter deuten darauf hin, wo die bedeutende Kugire Pausen geschehen zu sein scheinen, obwohl diese Extra-Leerschritte mit die HTML-Entität, „em space“ (&+#+8195+;), an dem Opera 9 für den Mac (im Fall von meinen Macs) sich nicht zeigen werden.

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

Meine Übersetzungen der Haiku Gedichte von den japanischen Haiku Schriftstellern von dem Spät-Muromachi Zeitalter bis zum Spät-Edo Zeitalter (Basho, Buson, Chiyoni, Issa, Kyorai, Kyotai, Onitsura, Sokan, Taigi, Yaba, etc.) im Folgenden sind etwas frei, sondern eher erklärend.

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

[der Monat von „Taro“ („Taro“ ist ein Wort, das „der Beginn der Dinge“ oder „das Erste“ besagt), Month of "Taro" ("Taro" is the term referring to "the beginning of things" or "the first")], etc.

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 glücklichen Richtung,“ für das Begrüßen des Gotts 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 regierenden 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 mit Gestrüpp (Yabu) bewachsenen Heimat,“ der Begriff bezieht sich auf eine Gewohnheit seit der Edo Periode, in der die (verpflichtete, wohnhafte) Diener die Erlaubnis, nach Elternhäusern zu gehen, 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.
- Kane hitotsu Ure nu hi ha na-shi Edo no haru (Kikaku, Gogen Shu Shui) • Edo no Haru for spring (the New Year)
  Ohne sogar eine selten verlangte Tempelglocke Verkauft zu wird, vergeht es nicht ein Tag, In dem Edos Wohlstand im Neujahr. (eine etwas freie und eher erklärende Übersetzung [wird nachstehend weggelassen])
  With even a rarely demanded temple bell Not being sold, not a day goes by, In Edo's prosperity in the New Year. (A little free and rather descriptive translation [hereinafter omitted])
- Gwanjitsu ya Ihe ni yuzuri no Tachi haka n (Kyorai, Zoku Minashiguri) • Ganjitsu (Gwanjitsu)
  Ja, bei dieser fröhlichen Gelegenheit des Neujahrstags, Weil in der Familie ein Schwert weitergegeben wird, Werde ich es tragen.
  Yes, on this happy occasion of New Year's Day, There has come down in my family A sword, which I shall bear.
- Chomatsu ga Oya no na de kuru Gyokei kana (Yaba, Sumidahara) • Gyokei
  Der Lehrjunge Chomatsu, der seinen Lehrvertrag erfüllte, ist Unter dem ererbten Namen von seinem Vater gekommen, Um einen Neujahrsbesuch zu machen.
  The articled apprentice boy Chomatsu, having taken up his indentures, Under his inherited name from his father has come To make a New Year's call.
- Yabuiri no Neru ya hitorino Oya no soba (Taigi, Taigi Ku Sen) • Yabuiri
  Auf Urlaub für Diener, Oh, schläft gut ein Zurückgekehrter Neben seiner alleinerziehenden Mutter.
  On a holiday of servants, Oh, a returned one's sleeping tight By a lone-parent.
  (Das Geschlecht ist nicht festgelegt in dem Originalgedicht von Taigi. The gender is not specified in the original poem by Taigi.)
- • Manzai
  • Saruhiki in Issa's Haiku poem

2 Kisaragi

— The second month, February.
Other names for "February" are Konome-zuki

[der Monat der Blattknospe, Month of leaf buds], Umemi-zuki

[der an die Pflaumenblüte sehende Monat, Month of plum blossom viewing], etc.

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 (Luni-Solarkalenders) 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 heiligen 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 den 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], Ume no Hana [die japanische Pflaumenblüten, Japanese plum blossoms], Yamazakura [die Gebirgskirschblüten, mountain cherry blossoms], etc.
- Te wo tsui te Uta moshiaguru Kahazu kana (Sokan, Arano) • Kawazu (Kahazu)
  Das Erscheinungsbild desjenige, der in die Hände den Boden bekommt Und ein Gedicht vor dem Adliger aufsagt, Hat gewißlich der Frosch.
  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)
  Schlanker Frosch, Halte durch! Issa, Hier kommt ich.
  Scrawny frog, Hold hard there! Issa, Here comes I.
  „Wie der heißt, Kore ni ari“ [Wie der heißt, Hier existiert (ist vorhanden)] ist eine Redewendung, die von dem Samurai Krieger geäußert wird, wenn er auf dem Schlachtfeld sich ansagt (seine Identität zu erkennen gibt). "What's-his-name, Kore ni ari" [What's-his-name, Here exists (is present)] is the wording used by the samurai warrior when announcing himself (declaring his identity) on the battlefield.
- Mizutori ya Kohori no sou no Kutsu no oto (Basho, Nozarashi Kiko) • Mizutori
  Das Wasser-Holend Ritual ist beim Stattfinden, Die vereiste Mönches Schritte werden auf dem Hausflur mitten in der Nacht gehört.
  The water drawing ritual being held, Icy monks' Footsteps are heard from the hall in the middle of night.
  „Kohori no Sou (Koori no So)“ [vereister Mönch, Eismönch] ist ein empfindender Ausdruck von Basho, der die Mönche, die sich den religiösen Einschränkungen widmen und in der Kälte der Nacht die Wache behalten, darstellt. "Kohori no Sou (Koori no So)" [Icy Monk, Ice Monk] is a sentient expression by Basho, which represents 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
  Dort über dem Rapsfeld sind Der aufgehende runde weiße Mond am Osthimmel Und die untergehende rote Sonne am Westhimmel zu erblicken.
  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)
  Komm mit mir (einem mutterlosen Kind) und Spiel, eltern-Loser Sperling.
  Come along with me (a motherless child) and Play, parent-Less sparrow.
  Kobayashi Issa hat seine natürliche Mutter als Dreijähriger verloren. Kobayashi Issa lost his real mother when he was three years old.
- Yufu-tsubame Ware niha asu no Ate ha naki (Issa, Bunka Ku Cho) • Tsubame (-tsubame)
  Abendschwalben, die heraus und hinein in das Nest gehen, Sind im Gegensatz zu mir, Der ein unzuverlässiges Morgen hat.
  Evening swallows going in and out of the nest, In contrast to me having An undependable tomorrow.
- Sareba koko ni Danrin no ki ari Ume no hana (Soin, Danrin Jippyaku-in) • Ume no Hana
  Daher ist hier Ein Schatten, der die perfekte Lernstätte für Danrin Gedichte ist, unter Dem blühenden Pflaumenbaum.
  Therefore, here is The perfect shade to pursue Danrin poetry under The flowering plum tree.
  Another name of the plum tree is Kobun-boku [the "appreciate learning" tree], the flowers of wich are anecdotally reported to have come into bloom when Emperor Wudi (Sima Yan, also spelled as Ssu-man Yen, 236-290) of the Jin dynasty, China studied hard and to have begun to wilt when he ceased studying.
  The first portion is hypercatalectic (Ji-amari) in this Haiku poem, which is said to have been composed as a reciprocal salutation when Soin arrived in Edo from Osaka and received a cordial welcome from Tashiro Shoi (dates of birth and death unknown) who took the pseudonym of Danrin-ken. This Soin's poem is, one theory has it, set the stage for Danrin school in Edo to begin to rise.

3 Yayoi

— The third month, March.
Other names for "March" are Hanami-zuki

[der an die Kirschblüte sehende Monat, Month of cherry blossom viewing], Sakura-zuki

[der Monat der Kirsche, Month of the cherry], etc.

Season Words (Kigo) - Ashibi no Hana [die Blume der japanischen 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 [das Hanashizume Fest, 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), genannt „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], Momo no Hana [die japanische Pfirsichblüten, peach blossoms], 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
  Eine junge Dame auf der Schaukel Grüßt, die Ausstrahlung ausschüttend, Von oben.
  A young lady on the swing Greets, with the o'erflowing radiance spilling down, From on high.
  This Haiku poem's second portion is hypermetric (Ji-amari).
- Hana-mori ya Shiroki kashira wo Tsukiahase (Kyorai, Komo Jishi Shu) • Hana-mori
  Alte Blüten-Wachen unter der Kirschblüten reden, Ihre weißhaarigen Köpfe Zueinander neigend.
  Old flower guards under the cherry blossoms are talking, With their hoary heads leant Towards each other.
- Sendo no Mimi no tosa yo Momo no hana (Shiko, Yawa Gurui) • Momo no Hana
  Ein alter Fährmann, Der schwerhörig ist, steuert seine Fähre über den Fluss, an dessen Ufer Pfirsichblüten erblühen.
  An old waterman, Who's hard of hearing, steers his ferry across the river on the bank of which Peach blossoms bloom.
- Yononaka ha Mikka mi nu ma ni Sakura kana (Ryota, Ryota Ku Shu) • Sakura
  Die Welt ist, Während meines drei-tägigen Entzugs von ihr, In Kirschblüten gehüllt.
  The world has, In three days of my withdrawal from't, Become draped in cherry blossoms.
- Horohoro to Yamabuki chiru ka Taki no oto (Basho, Ohi no Kobumi) • Yamabuki
  Leise sind hinab auf den Boden Japanische Rosenblütenblätter am Wehen Im Dröhnen des Wasserfalls.
  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 Trauer um das Abfahren des Frühlings will ich Trost bei dem Biwaspiel suchen, Aber die Biwalaute kommt mir schwer vor, Die ich auf dem Arm trage.
  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

4 U-zuki

— The fourth month, April.
Other names for "April" are Hananokori-zuki

[der Monat der restlichen Blumen, Month of remaining flowers], U-no-hana-zuki

[der Monat der Utsugi Blumen, Month of utsugi (deutzia) flowers], etc.

Season Words (Kigo) - Aoba [grüne Blätter, green leaves (foliage), greenery], 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)], Hatsu-gatsuo (also written as Hatsu-gatsuwo) [der erste Echte Bonito der Saison (der Echte Bonito, der, sobald die Saison, wenn der auf der Höhe seines Wohlgeschmacks ist, beginnt, auf den Fischmarkt erscheint), the first bonito (Euthynnus pelamis) of the season], Hototogisu [ein Gackelkuckuck, a little cuckoo, (Cuculus poliocephalus)], Kakitsubata [a rabbit-ear iris (Iris laevigata)], Kanbutsu [das bedeutet, eine Statue des Kleinkinder-Buddhas mit dem süßen 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 angepaßter Wechsel der Kleidung, a seasonal change of clothing], Kumo no Ko [ein Spinnenbaby, 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.
- Me niha Aoba Yama Hototogisu Hatsu-gatsuwo (Sodo, Sodo Kashu) • Aoba and Hatsu-gatsuwo and Hototogisu
  Die grüne Blätter leuchtet glänzend in den Augen, Das Lied von dem Kuckuck aus dem Berg in den Ohren, Der erste Echte Bonito der Saison dem Mund, sie sind die Frühsommer-Schmäuse.
  The verdure shines brilliantly in the eyes, The song of the cuckoo from the mountain in the ears, The first bonito of the season the mouth; they are early summer delights.
  This Haiku poem's first portion is hypercatalectic (Ji-amari). Furthermore, 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 ), severs a poem into three portions. In addition, it has three Kigo words.
- Hototogisu Koe yokotafu ya Mizu no ue (Basho, Fuji no Mi) • Hototogisu
  Die Note des Rötelkuckucks, der ausgeflogen war, Lag ausgebreitet und klang Auf der Wasseroberfläche des Sees nach.
  The note of a little cuckoo having flown away Lay spread out and lingered O'er 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)
  Um eine Schicht des Kleides erleichternd, Habe ich das Ausgezogene auf dem Rücken getragen, Damit komme ich zur Erfüllung meines Koromogae.
  Having lightened my clothing by a layer, With the doffed on my back, My Koromogae is done.
  This Haiku poem's first portion is hypermetric (Ji-amari).
- Natsu-kusa ya Tsuhamonodomo ga Yume no ato (Basho, Oku no Hosomichi) • Natsu-kusa
  Sommer-Gräser Sind alles, was verbleibt, Nach einem vergänglichen Traum von denjenigen, die ehrgeizig gekämpft und glorreich gefeiert haben.
  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
  Sogar der Specht läßt Diese Hütte unausgehöhlt liegen, die ist ein schweigendes Dasein In dem Sommerhain.
  Even the woodpecker has Left unhollowed this hut, a silent presence In a summer grove.
  „Iho“ [Hütte] bezieht sich auf den Hütte, wo der Zen-Meister Buccho (1642-1715) ehemals in Meditation saß. Man sagt, daß Basho unter Anleitung von Buccho Zen-Meditation praktizierte. "Iho" [hut] refers to the hut where the Zen master Buccho (1642-1715) once sat in meditation. It is said that Basho practiced Zen meditation under Buccho.
- U-no-hana no Taema tataka n Yami no kado (Kyorai, Sumidahara) • U-no-hana
  Erblickt werden undeutlich die weiße Utsugi Blumen, An deren Spalte ich klopfen will, Die ein Tor in der dunklen Nacht sein mag.
  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
  Lediglich der schneebedeckte Berg Fuji Wird allein gelassen, alles andere Überzieht sich mit frischem Grün.
  Only snow-capped Mount Fuji Left alone, all is Covered with fresh verdure.
- • Kanbutsu

5 Satsuki

— The fifth month, May.
Other names for "May" are Sanae-zuki

[der Monat der Reissetzlinge, Month of rice seedlings], U-getsu

[der Monat des Regens, Month of rain], etc.

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 [eine Maulbeere, a mulberry], Kyuri [eine Gurke, a cucumber], Nemu no Hana [die Blüte 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)
  Auf der Kisagata-Bucht, Im Regen getrübt, erinnert mich an das Kebsweib Seishi mit geschlossener Augen in das Nachsinnen Die verbeugende Nemu Blüte.
  At the 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). Lady Seishi (Xi Shi) is one of the Four Greatest Beauties of ancient China. A legend says that when Yue was defeated by Wu in the Spring and Autumn and Warring States periods, China, Seishi (Xi Shi), a wife (concubine) of King Gou Jian of Yue, was presented to King Fu Chai of Wu, and thenceforth she no longer smiled.
- Samidare no Sora fukioto-se Ohoi-gaha (Basho, Arisoumi) • Samidare
  Eine lange Zeit des Regens im Frühsommer, Wegblasen Sie den Regenwolkenhimmel mit wütender Kraft von Ihnen! Der Fluss Oi.
  A long spell of rain in early summer, Blow off the o'ercast, rainy sky by the raging force of yours! The River Oi.
- Yuku mizu ya Take ni semi naku Shokoku-ji (Onitsura, Satoe Nanakuruma) • Semi
  Entlang einer Strecke des Baches Steht ein Bambushain, und darin singen die Zikaden In dem Shokoku Tempel.
  Along a stretch of the stream A bamboo grove stands, and therein sing the cicadas In the Shokoku Temple.

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) [der auf den Wind wartende Monat, Month of waiting for the wind], Narukami-zuki

[der Monat des Gott, der schallt (ein Gott des Donner), 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).

Season Words (Kigo) - Amagoi [das Darbringen von Gebeten für den Regen, offering prayers for rain], Ao-hozuki [eine grüne Kapstachelbeere, a green ground cherry], Aota [grüne Reisfelder, green rice fields], 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)], Hiyashi-uri [eine kühle essbare süße Melone, eine kühle orientalische Melone, a chilled, edible sweet melon, a chilled Oriental melon], Itsukushima-matsuri [das Itsukushima Fest, das ein Fest des Itsukushima Heiligengrabs mit der alten feierlichen Hofmusik von Japan (Gagaku) ist, the Itsukushima Festival, a festival of Itsukushima Shrine with ancient ceremonial Court music of Japan (Gagaku)], Kemushi [eine Haarraupe, 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 [eine essbare süße Melone, eine orientalische Melone, an edible Oriental sweet melon (Cucumis melo var. makuwa)], Mushiboshi [ein Lüften im Sommer, a summer airing], Ryofu (also read as Suzukaze) [eine kühle Brise, eine frische Brise, der wiederauflebende Wind, a cool breeze, a refreshing breeze, the refreshing wind], 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.
- Suzukaze ya Aota no uhe no Kumo no kage (Kyoriku, Infutagi) • Aota and Ryofu (Suzukaze)
  Mit dem erfrischenden Lüftchen Werfen auf grüne Reisfelder Weiße Wolken ihre Schatten und geben grüne Abstufungen.
  With the refreshing breeze, On the green rice fields White clouds cast their shadows and give shades of green.
- Kumo no mine Ikutsu kuzure te Tsuki no yama (Basho, Oku no Hosomichi) • Kumo no Mine
  Wieviel Kumulonimbus-Wolken Haben sich aufgehäuft und sind eingestürzt, Um den Berg Mond (Gassan), der den Namen verdient, zu machen?
  How many cumulonimbus clouds, Having piled up and caved in, Made Mount Moon (Gassan) worthy of the name?
- Ari no michi Kumo no mine made Tsuzuki ken (Issa, Ora ga Haru) • Kumo no Mine
  Eine Ameisenstraße ist durchgehend, Welche aus den fernen Kumulonimbus-Wolken Bis hierhin geführt worden sein mag.
  A long trail of ants is going through, Which might have been from the faraway cumulonimbus clouds Led up to here.
- Hito kitara Kahazu to nare yo Hiyashi-uri (Issa, Shichiban Nikki) •Hiyashi-uri
  Wenn jemand kommt, Verwandeln Sie sich in einen Frosch, um nicht gegessen zu werden. Verstanden? Süße Melone in kaltem Wasser.
  If anyone comes, Turn yourself into a frog so as not to be eaten. You hear? Sweet melon in cold water.

7 Fumi-zuki (also read as Fu-zuki)

— The seventh month, July.
Other names for "July" are Fumihiroge-zuki

[der Monat, die Bücher und die Schriften zu aufmachen (in die Luft des Nachts die Bücher und die Schriften zu lüften), Month of opening books and writings (airing out them in the night breeze)], Tanabata-zuki

[der Monat des Stern Fests, Month of the Star Festival], etc.

Season Words (Kigo) - Ama-no-gawa [die Milchstraße, the Milky Way], Asagao [eine Japanische Prunkwinde (Ipomoea [Pharbitis] nil), a Japanese morning glory], 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], Higurashi [eine grünfarbene Heuschrecke, 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 das Zurückschicken von den Geistern der Toten reibungslos und schnell vorankommen 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 [ein Bon Ritus mit dem Lebensmittelopfer, um das Leid derer, die zur Hölle von den hungrigen Geistern (Gaki) gefahren sind, zu lindern, 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
  Entfernt über dem stürmischen Meer Treibt eine Strafinsel von Sado, darüber Erstreckt sich die Milchstraße über den Himmel.
  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
  Da die Prunkwinde vor mir Den Brunneneimer nahm, Bat ich meine Nachbarin um das Wasser.
  Morning glory Taking a well bucket before me, I asked my neighbor for water.
  (Das Geschlecht ist nicht festgelegt in dem Originalgedicht von Chiyoni. The gender is not specified in the original poem by Chiyoni.)
- Fumi-zuki ya Muika mo tsune no Yo niha ni zu (Basho, Oku no Hosomichi) • Fumi-zuki
  In dem siebten Monat ist beim Gedanken an das Stern Fest Der Abend des sechsten Tages als irgendwelche andere Nächte anders geartet.
  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)
  Es ist schön, die Kühle Der Wand unter meinen Füßen zu fühlen, Sich auf den Boden zum Schläfchen legend.
  'Tis 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
  Wie grausam und tragisch! Unter einem Gefechtshelm, der einem gefallenen alten Krieger (Sanemori) gehört hat, Ist eine Langfühlerschrecke am Zirpen.
  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
  Ei! Die Wegesrandblumen Des Mukuges sind von dem Pferd, auf dem ich reite, Schon aufgefressen.
  Well! The wayside flowers of The mukuge have, by the 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

— The eighth month, August.
Other names for "August" are Kei-getsu

(also read as Katsura-zuki), Tsukimi-zuki

[der an den Mond sehende Monat, Month of viewing the moon], etc.

Season Words (Kigo) - Akebi [an akebi (Akebia quinata)], Aki no Kure [spät im Herbst, late in autumn], Ashi no Hana [die Blumen des Schilfrohrs, the flower of reed], Hagi [japanische Buschkleearten (Buschklee), Japanese bush clovers (Lespedeza)], 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), Kyo no Tsuki (also written as Kefu no Tsuki) [der heutige (helle) Mond, Today's (bright) moon], Meigetsu [ein Vollmond in der fünfzehnten 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
  Ohne den Tod zu finden, Habe ich es bis zum Ende meiner Reise geschafft, dann bemerke ich, Daß der Herbst beim Davonziehen ist.
  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
  Von heute an bis zum Frühling Werden Sie Gänse von Japan, Also, gute Erholung.
  From today on until the spring, You're going to be geese of Japan, So, take a good rest.
- Yamu-kari (also read as Byogan) no Yosamu ni ochite Tabine kana (Basho, Sarumino) • Kari (Yamu-kari) for this 8th month and Yo-samu for the 9th month
  Eine kranke Wildgans Ließ sich auf den Boden in der Kälte der Nacht nieder, die ich deutlich empfinde, weil ich auch Verbringend die Nacht auf einer Reise liege.
  A sick wild goose Alighted on the ground in the night cold, which I keenly feel as I also Lie passing a night on a journey.
- Tahi ha hana ha Minu sato mo ari Kefu no tsuki (Saikaku, Orandamaru Nibansen) • Kyo no Tsuki (Kefu no Tsuki)
  Obwohl der Geschmack der frischen Meerbrasse und die Schönheit der Kirschblüten In einigen Dörfern nicht vorhanden sind, Ist der heutige helle Mond für jeden da zu genießen.
  Tho' the taste of fresh sea bream and the beauty of cherry blossoms are Not available in some villages, Today's bright moon is there for all to enjoy.
  This Haiku poem's first portion is hypermetric (Ji-amari).
- Meigetsu ya Kado ni sashikuru Shiho-gashira (Basho, Mikazuki Nikki) • Meigetsu
  Der Vollmond scheint herrlich, und In einem Kanal in der Nähe von dem Hüttentor werden Die schimmernden Gipfel der Wellen gesehen.
  The full moon being shining beautifully, In a canal near the gate of the hut are seen The shimmering wave crests.
- Hitotsu-ya ni Yujo mo ne tari Hagi to tsuki (Basho, Oku no Hosomichi) • Hagi and Tsuki
  Unter demselben Dach haben Die Huren, die im Schlamm der Welt gefangen sind, und der Einsiedler, der fern von ihm ist, zufällig geschlafen, und Die Buschklee sind auf der Erde und der Mond ist am Himmel.
  Under the same roof Harlots who're shackled by the mud of the world and a hermit who's aloof from't have come to sleep, and Bush clovers are on earth and the moon is in the heavens.
- Tobadono he Goroku-ki isogu Nowaki kana (Buson, Buson Ku Shu) • Nowaki
  In Richtung Imperial Villa in Toba Sprengen in vollem Galopp die fünf oder sechs gepanzerten Krieger voraus, Ein tosender Herbstwind weht herüber.
  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

— The ninth month, September.
Other names for "September" are Kiku-zuki

[der Monat der Wucherblume, Month of chrysanthemum], Momiji-zuki

[der Monat des Herbstlaubs, Month of autumnal foliage], etc.

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 [die Adzukibohnen zu mahlen, grinding adzuki beans], Hashibami [ein Hasel, a hazel], Ichijiku [die Feige, the (common) fig], Igaguri [die Kastanien mit stacheliger Schale, 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 [der erste Reis der Saison, 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
  Wenn ich die Haare von meiner verstorbenen Mutter in die Hand nähme, wären sie dahinschwindend geschmolzen, Das ist so, weil meine Tränen heiß sind, Wohingegen ihre weiße Haare wie Reif im Herbst sind.
  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 ), severs a poem into three portions, in this case, (1) Te ni tora ba kie n [If I take it, it will disappear] with a 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 by Basho 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. Also, as another example of the "noun" Sandan-gire, see a Haiku poem by Sodo (Sodo Kashu), in which each separate portion is marked out specifically with 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 furuki Hotoketachi (Basho, Ohi Nikki) • Kiku
  Der Duft der Chrysantheme durchflutet die Luft, Da residieren in der Südhauptstadt Nara die altertümliche Buddhas so heilig wie sie immer waren.
  The scent of the chrysanthemum fills the air, There reside in the southern capital Nara the ancient Buddhas as divine as they were ever.
- Kigiku shiragiku Sono hoka no na ha Naku mogana (Ransetsu, Sonofukuro) • Kiku (Kigiku, Shiragiku)
  Die Gelbe Wucherblume und die Weiße Wucherblume sind die eleganteste, Und es wäre schön, wenn die anderen Benannten Da nicht wären.
  The yellow chrysanthemum and the white chrysanthemum are the most elegant, And I think, if only the other named Were not there.
  This Haiku poem's first portion is hypermetric (Ji-amari).
- Kugwatsujin Haruka ni Noto no Misaki kana (Kyotai, Kyotai Ku Shu) • Kugatsujin (Kugwatsujin)
  Am Tag, wenn der Herbst endet, Liegt fernab in einer weiten Fläche des nördlichen Meers Die Noto Halbinsel.
  On the day that autumn ends Far away in the northern sea of boundless expanse Lies Noto Peninsula.
- Ichinin to Chomen ni tsuku Yo-samu kana (Issa, Issa Hokku Shu) • Yo-samu
  „Ein,“ Als die Gästezahl ins Gästebuch des Hotels eingetragen, Vergrößert stark die Kälte der Nacht.
  "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
  Wie die Venusmuschel futa und ihr mi, scheiden mit Schwere wir auseinander, und nach Futami abreise ich, mit dem Abfahrenden Herbst.
  Like the clam's futa and mi, having a difficult parting, for Futami I'm leaving, with the Departing autumn.
  (1) Futami ist ein Wortspiel, das Wort „futa-mi“ („futa“ [die Schutzhaube, der Deckel → die Schalen] und „mi“ [das Fleisch]) von der Venusmuschel mit dem Ortsname „Futami“ von dem Futami-ga-Ura Strand in Ise, wo die Venusmuscheln sind eine örtliche Spezialität, verbindend. (2) Yuku spielt im Sinne von den Wörtern, durch Auffassen des Wort „yuku“ [gehen, abreisen, abfahren, etc.] als das, was „Abscheidung“ andeuten kann, den Sinn von „scheiden“ mit dem Sinne von „abfahrend“ verflechtend. In this Haiku poem, (1) Futami is a play on words linking the word "futa-mi" ("futa" [cover, lid → shells] and "mi" [flesh, meat]) of a clam and the place-name "Futami" of Futami-ga-Ura beach in Ise where clams are a speciality, and, furthermore, (2) 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].

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

[der Monat von dem ersten Reif (Frost) des Jahres, Month of the first frost of the year], Shigure-zuki

[der 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.

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 [die Winter-blühende japanische Pflaumenblüten, winter Japanese plum blossoms, early-flowering 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.
- Mume ichirin Ichirin hodo no Atatakasa (Ransetsu, Genpo Shu) • Kanbai (Mume [Ume]) ^{Note (A)}
  A flower bud of the winter plum has opened up, Through a slightly red-tinged look of which The warmth of early spring can faintly be felt, tho' in winter.
  Note (A) "Kanbai" [Winter Japanese Plum, Early Japanese Plum] is specified in the foreword to this Haiku poem.
- 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 color'd 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 Are hindered to reach the ground Drops of light rain.
- Hatsu-shigure Saru mo komino wo Hoshige nari (Basho, Saru Mino) • Shigure (Hatsu-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

— The eleventh month, November.
Other names for "November" are Kagura-zuki

[der Monat von Kagura (die Aufführung der geistlichen Musik und des heiligen Tanzes), Month of Kagura (a performance of sacred music and dancing)], Yukimi-zuki

[der an die Schneelandschaft sehende Monat, Month of snow-scene viewing], etc.

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 wurde verwendet, mit einer Hachi verglichen) 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 was used to resemble a Hachi) and recited the Nembutsu of Kuya (903-972), soliciting contributions for religious purposes], Hakamagi [eine zeremonielle Veranstaltung, in der die Jungen von fünf Jahren zum ersten Mal die „Hakama“ Gesellschaftshosen ziehen, a celebratory event for 5-year old male children to wear their formal "Hakama" trousers for the first time], Kamioki [eine zeremonielle Veranstaltung, die den Kindern von drei Jahren gestattet, die Haare lang zu wachsen (tragen), 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 [eine zeremonielle Veranstaltung, in der die Mädchen von sieben Jahren zum ersten Mal die „Obi“ Gürtel tragen, 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

— The twelfth month, the year-end, December.
Other names for "December" are Goku-getsu

[der Monat, den äußersten Punkt (Goku) des Jahres zu erreichen (der letzte Monat des sterbenden Jahres), Month of reaching an extreme point (Goku) of the year (the last month of the dying year)], Ro-getsu

[der Monat von einem Jagdfest namens „Ro,“ Month of a hunting festival called "Ro"], etc.

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 kältesten 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 Stampfen von gedämpftem 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 leitet sich aus einem Religionsbrauchtum her, daß die Leute die Altäre in ihren Häusern und die Zimmer säuberten, um Toshigami hereinzuführen), "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], Toshi no Uchi no Haru [der Frühling, der in Übereinstimmung mit dem Luni-Solarkalender vor dem Jahreswechsel kommt, Spring that comes before the turn of the year according to the luni-solar calendar], 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 no uchi he Fumikomu haru no Hiashi kana (Kigin, Yamanoi) • Toshi no Uchi no Haru (Toshi no Uchi he … Haru)
  The first day of spring has come in the calendar, before the turn of the year, and In has stepped the spring Sun's foot.
  In this Haiku poem, the first portion is hypermetric (Ji-amari) and the two words related in meaning (Engo), in this case, "fumikomu" [set foot in, step into, get into] and "hiashi" ["Hiashi" is a two-kanji compound word which consists of "Hi" (the sun or sunshine) and "Ashi" (a foot or feet), and refers to the movement of the sun, the day (daytime), a shaft of sunlight, and the position of the sun], are used to heighten effect.
- Toshi kure nu Kasa ki te waraji Haki nagara (Basho, Nozarashi Kiko) • Toshi no Kure (Toshi kure nu)
  Das Jahr ist bei mir vergangen, Während mit Strohlampenschirmhut und in Strohsandalen Ich noch bin.
  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

Several specified words called Kireji , including conjugational words either in their end-forms (conclusive 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 Japanese verse or a 17-syllable Japanese poem in terms of compositional-grammatical attributes of Haikai , and make the expression conclusive and independent and engender one or more significant intervals in the flow of a single poem (Kugire ), in which the expanding of the semantic substance (with the suggestiveness, with an allusive or reverberative feeling) brought about by halting the meaning of the words can be felt.
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. Thenceforth, they have been carried on as the most important eighteen words to be used to terminate an expression of a Japanese poem. The 18 Kirejis are:

Mehrere besondere Wörter, die Kireji insgesamt genannt werden, einschließlich konjugierter Wörter, die entweder in ihren End-Formen (konklusive oder perfektive Formen) oder in ihren imperativischen Formen sind, und satzfinaler Partikelwörter (nachgestellter Hilfswörter), die Empfindungen bezeichnen, schließen ein Ausdruck (Satzteil, Vers) von einem 31 Silben japanischen Gedicht (Waka) oder von einer verbundenen japanischen Versdichtung (Renga) oder von eiem 17 Silben japanischen Gedicht (Haiku) ab in Bezug auf die kompositionellen und grammatischen Eigenschaften von dem Haikai , und machen ihn eigenständig und bringen im Fluss eines Gedichts eine order mehrere bedeutende Pausen (Kugire ) hervor, wie man bei ihnen die Ausdehnung von dem Aussage (mit der Zweideutigkeit, mit anspielendem oder nachhallendem Unterton), die durch einen Stillstand in dem Sinne der Worte herbeigeführt wird, verspüren kann.
Zur Zeit von Sogi (1421-1502), der ein Renga Dichter und klassischer Gelehrter in dem Spät-Muromachi Zeitalter war, waren es 18 bestimmte Kirejis, die ursprünglich in Isshi Shinasadame, angeblich von Nijo Yoshimoto (1320-1388), der ein Dichter in der Zeit der Süd- und Nord-Dynastien und Sohn des Kanzler Michihira war, erklärt worden sein sollen. Seitdem werden sie als die wichtigsten achtzehn Wörter, die für Abschließen eines Ausdrucks von einem japanischen Gedicht zu verwendet sind, weiterführt. Die 18 Kirejis sind:

kana — eine satzfinale Partikel (ein nachgestellte Hilfswort, die Empfindungen bezeichnet), a sentence-final particle (a postpositional particle denoting emotion), as kana of "Gyokei kana," "Kahazu kana," and so on in above instances. Depending on "emotions," the postpositional particle Kana might imply undertones, for example, of "ah," "aw," "boy," "hmm," "my," "oh," "have" (an emphatic "have" as in "have come" instead of "came"), and "indeed."
mogana — eine optative satzfinale Partikel, a desiderative sentence-final particle, as mogana of "Naku mogana" in above instances.
keri — eine Konklusivform eines Präteritum (Vergangenheit) Hilfsverbs (rückblickend, exklamatorisch, und berichtend [vom Hörensagen]. In literarischer Verwendung wird die Vergangenheit im Verhältnis zur Gegenwart heraufbeschworen, und deshalb einhergehend oft mit einem Gefühl von „gerade eben“ Erkenntnis oder von „Oh, dass war es“ Staunen), a preterite auxiliary verb in its conclusive 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 "Ahh, 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.
zo — eine satzfinale Partikel (behauptend, emphatisch, etc.), a sentence-final particle (assertive, emphatic, etc.), as zo of "Sumikaharu yo zo," "Nihon no kari zo" (assertive), and so on in above instances.
yo — eine satzfinale Partikel (emphatisch-bestätigend als die Bestätigung von einer imperativischen Absicht oder Anforderung, exklamatorisch, etc.), a sentence-final particle (emphatic confirmative as the confirmation of an imperative intention or request, exclamatory, etc.), as yo of "Kahazu to nare yo" (emphatic confirmative) in above instances.
ya — (1) eine exklamatorische satzfinale Partikel, an exclamatory sentence-final particle, as ya of "Gwanjitsu ya," "Neru ya," and so on in above instances, and (2) eine einbindende (verbindende) Partikel (fragend, interrogativ, und ironisch), a binding (linking) particle (inquiring, interrogative, and ironic).
ka — eine satzfinale Partikel (interrogativ, exklamatorisch, etc.), a sentence-final particle (interrogative, exclamatory, etc.), as ka of "Haka mo meguru ka" (interrogative) and as ka of "Yamabuki chiru ka" (leicht exklamatorisch, mildly exclamatory) in above instances.
ikani — ein interrogative Adverb, an interrogative adverb.
zu — ein negative Hilfsverb entweder in seiner Kontinuativform, die Renyo-kei genannt wird, oder in seiner End-Form (Konklusivform), die Shushi-kei genannt wird, a negative auxiliary verb either in its continuative form named Renyo-kei or in its end-form (conclusive form) named Shushi-kei, as zu of "Iho ha yabura zu" and "Yo niha ni zu" in above instances.
ji — ein Hilfsverb in seiner End-Form (Konklusivform) oder in seiner Attributivform (Adnominalform), die Rentai-kei genannt wird, oder in seiner kopulativ oder adversativ Konditionalform (Konjunktivform), die Izen-kei genannt wird und negative Konjektur, negative Volition und so weiter bezeichnet, an auxiliary verb in its end-form (conclusive form) or in its attributive (adnominal) form named Rentai-kei or in its copulative or adversative conditional (subjunctive) 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.
nu — ein Perfekt Hilfsverb in seiner End-Form (Konklusivform), a perfect auxiliary verb in its end-form (conclusive form), as nu of "Ushiro ni oi nu" and "Toshi kure nu" in above instances.
tsu — ein Perfekt Hilfsverb in seiner End-Form (Konklusivform), a perfect auxiliary verb in its end-form (conclusive form).
ramu (ran) — ein putative (präsumptive) Hilfsverb in seiner End-Form (Konklusivform), a putative (presumptive) auxiliary verb in its end-form (conclusive form).
ke — die Endung der Imperativform eines Verbs, a verb in its imperative form, more specifically, the ending of its imperative form.
se — die Endung der Imperativform eines Verbs, a verb in its imperative form, more specifically, the ending of its imperative form, as se of "Sora fukioto-se" in above instances.
shi — die Endung der End-Form (Konklusivform) eines Adjektivs, an adjective in its end-form, more specifically, the ending of its end-form (conclusive form), as shi of "Manzai oso-shi" and "Ure nu hi ha na-shi" in above instances.
he — die Endung der Imperativform eines Verbs, the ending of the imperative form of a verb.
re — die Endung der kopulativ oder adversativ Konditionalform (Konjunktivform), genannt Izen-kei, von einem Verb und die Endung der Imperativform eines Verbs, the ending of the copulative or adversative conditional (subjunctive) form, named Izen-kei, of a verb and the ending of the imperative form of a verb.
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. (See a Waka poem containing Koso and Re.)

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:

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" (mutmaßlich, conjectural) and as n of "Tachi haka n" and "Taema tataka n" (willentlich, 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).

Basho (Baseu): Matsuo Basho (1644-1694), a Haiku writer 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 Haiku, to the realm of art.
Buson : Yosa Buson (1716-1783), a Haiku writer 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 writer 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 writers, 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 writer 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 writer in the early and middle Edo period and one of "Sho-mon Jittetsu" [The ten great minds of the Basho School called Sho-mon]. 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 writer in the middle and late Edo period and one of "Tenmei Shi Haijin" [The four great Haiku writers 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 writer 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 "true" Haiku, 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, Haikai is subsistent (Makoto no hoka ni Haikai nashi)."
Sokan : Yamazaki Sokan (dates of birth and death unknown), a Renga poet and Haiku writer in the later part of the Muromachi period (the Muromachi period: 1336-1573). His autonym - Shina Norisuke. The native province - Omi (now Shiga Prefecture). He is considered to be the founding father of Haikai , 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 writer 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 writer in the middle Edo period and one of "Sho-mon Jittetsu." 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.

A genealogy of the Edo period Haikai schools (the Edo period Haiku masters and noted descendants of the schools)
Early Edo	→	→	Early/Middle	→	→	Middle/Late	→	→

			Tashiro Shoi
			Naito Rosen (1655-1733)
	Nonoguchi Ryuho (1595-1669)		Ihara Saikaku (1642-1693)	Hojo Dansui (1663-1711)
		Nishiyama Soin (1605-1682) ♦Danrin school♦	Maekawa Yoshihira	Konishi Raizan (1654-1716)
			Suganoya Takamasa
			Okanishi Ichu (1639-1711)
	Matsue Shigeyori (1602-1680)	Uejima Onitsura (1661-1738)				Takai Kito (1741-1789) ♦Yahan-tei III♦
		Aoki Haruzumi (1653-1715)		Hayano Hajin (1677-1742) ♦Yahan-tei♦	Yosa Buson (1716-1783) ◊Sho-fu Revival◊	Kuroyanagi Shoha (1727-1771)
		Ikenishi Gonsui (1650-1722)				Yoshiwake Tairo (?-1778)
				Matsuki Tantan (1674-1761) ♦Naniwa-buri♦
	Yasuhara Teishitsu (1610-1673)
			Enomoto Kikaku (1661-1707) ∈ ♦Kikaku school♦	Inazu Giku (1663-1733) ♦Hoshi-fu♦	→ (…) →	Tan Taigi (1709-1771)
		Matsuo Basho (1644-1694) ♦Sho-mon school♦	Sugiyama Sanpu (1647-1732) ∈
			Hattori Ransetsu (1654-1707) ∈ ♦Setsu-mon school♦	Sakurai Rito (1681-1755)	Oshima Ryota (1718-1787) ♦Ryota school♦	Otomo no Oemaru (1722-1805)
	Kaedei Ryotoku (?-1679)		Naito Joso (1662-1704) ∈
Matsunaga Teitoku (1571-1653)			Morikawa Kyoriku (1656-1715) ∈	Ota Hajo (1678-1744)	Yokoi Yayu (1702-1783)
♦Tei-mon school♦			Mukai Kyorai (1651-1704) ∈
			Kagami Shiko (1665-1731) ∈ ♦Mino school♦	Muto Hajaku (1686-1752)	Muto Hakuni (1709-1792)	Kato Kyotai (1732-1792) ◊Sho-fu Revival◊	Inoue Shiro (1742-1812)
	Kitamura Kigin (1624-1705)	Kitamura Koshun (1648-1697)	Nozawa Boncho (?-1714)
			Tachibana Hokushi (?-1718) ∈
	Saito Tokugen (1559-1647)		Shida Yaba (1663-1740) ∈
			Ochi Etsujin (1656-?) ∈
	Yamamoto Saimu (1610-1682)		Yasomura Rotsu (1649-1738)			Takakuwa Ranko (1726-1798) ◊Sho-fu Revival◊
			Yamamoto Kakei (1648-1716)		Wada Kiin (1700-1750)	Miura Chora (1729-1780)
	Nakarai Bokuyo (1607-1678)		Kawai Sora (1649-1710)		Hori Bakusui (1718-1783)	Takebe Ayatari (1719-1774)
		Ozawa Bokuseki (?-1695)	Iwata Ryoto (1659-1717) ♦Ise school♦	Nakagawa Otsuyu (1675-1739) ♦Ise school (Bakurin)♦	Sakuma Ryukyo (1695-1748) ◊Sho-fu Revival◊	Shirai Chosui (1701-1769)	Kaya Shirao (1738-1791)	Suzuki Michihiko (1757-1819)
	Ishida Mitoku (1587?-1669)		Hattori Toho (1657-1730)		Kaga no Chiyo (1703-1775)
		Tani Bokuin (1646-1725)	Hirose Izen (?-1711)
	Takase Baisei (1619-1702)		So Roka (1672-1703)

		Yamaguchi Sodo (1642-1716) ♦Katsushika Sho-mon school♦	Hasegawa Bako (1685-1751)	Chikua (1710-1790) ♦Niroku-an♦	Kobayashi Issa (1763-1827)
	Mitsui Shufu (1646-1717)

Please note that the above chart is based on a genealogical (Haikai artistic factional) tree entitled "Haikai Keito Zu" in the appendix to Akira Muramatsu, Akiho Yamaguchi & Toshimasa Wada eds., Kogo Jiten, Revised and New Edition (Japan: Obun Sha, 1988), and it indicates only a generally viewed position of each Haiku writer in a master-disciple system of a Haikai artistic faction as included in a textbook in Japan. Actually, many, if not all, a Haiku writer did not remain under the tuition of one master, nor in pursuit of his or her "ultimate" Haikai was it possible to confine himself or herself to an established "formula." To cite a few examples, Matsue Shigeyori was a Haiku writer of Tei-mon school as shown in the above chart, but he later left Tei-mon school. Hayano Hajin was a disciple of Enomoto Kikaku as shown in the above chart, but he was also under the tuition of Hattori Ransetsu. Inazu Giku was a disciple of Okanishi Ichu of Danrin school and he later became a disciple of Enomoto Kikaku as shown in the above chart, but he looked up to the late Muromachi period Renga poet Sogi as his model.

Tei-mon school: Teitoku (Matsunaga Teitoku, 1571-1653) was an early Edo period poet, scholar of poetry, and Haiku writer from Kyoto. Teitoku, as a Haikuist, established Tei-mon school, and set out a system of Haikai regulations, which makes him the founding father of early-modern Haikai . (Read a Haiku poem by Teitoku)
Danrin school: "Danrin" is also written as "Danrin ," which was originally a Buddhist term used to refer to a Buddhist "Seminary." Soin (Nishiyama Soin, 1605-1682), an early Edo period Renga poet and Haiku writer from Higo, established Danrin school, having abandoned Tei-mon school's formalism. Shigeyori (Matsue Shigeyori, 1602-1680, an early Edo period Haiku writer, allegedly, from Izumo who advocated "Kokoro no Haikai [Haikai of the heart]") is said to have had a profound influence on the development of Soin's Danrin Haikai. (Read a Haiku poem by Soin)
Sho-mon school: Basho , who had been under the tuition of Kigin (Kitamura Kigin, 1624-1705, an early and middle Edo period poet, erudite scholar of classics, and Haiku writer from Omi), established Sho-mon school. Yamaguchi Sodo, who had also been under Kigin's tuition, is said to have had a significant influence on Basho in the period of formation of Sho-fu , and to have contributed to the establishment of Basho's Sho-mon school.
- Kikaku school: Kikaku (Enomoto Kikaku, 1661-1707), one of "Sho-mon Jittetsu" [The ten great minds of the Basho School, or Sho-mon] from Edo, and his disciples can be referred to collectively as "urban" Edo school, in contrast to "rural" Mino (Shiko) and Ise (Ryoto) schools. Kikaku developed "showy" Share-fu in his creative endeavors after his master Basho's death. However, his quirky urban Share-fu promoted, in its excesses, by the Kikaku-mon descendant Edo-za circle may be deemed to have been led astray and there are times when it is criticized as being "heretical" (Jado). Accordingly, that Edo-za line is omitted from "Haikai Keito Zu" in Muramatsu, Yamaguchi & Wada eds., Kogo Jiten, and it is not included in the above chart. (Read a Haiku poem by Kikaku)
  - Hoshi-fu style: Giku (Inazu Giku, 1663-1733), a middle Edo period Haiku writer from Osaka who had been under the tuition of Kikaku, developed "monastic" Hoshi-fu. The idiom of Giku is described as "Plain (Heimei)." Giku is said to have ardently admired Sogi (1421-1502), a Renga poet and scholar of classics in the late Muromachi period.
- Setsu-mon school: Ransetsu (Hattori Ransetsu, 1654-1707), one of "Sho-mon Jittetsu" from Edo, and his disciples are referred to collectively as Setsu-mon. The idiom of Ransetsu is described as "gentle and refined (Onga)" and "having a subtle charm (Ji-mi)." (Read a Haiku poem by Ransetsu)
  - Ryota school: Ryota (Oshima Ryota, 1718-1787), a middle and late Edo period Haiku writer from Shinano who had been under the tuition of Sakurai Rito of Setsu-mon school in Edo, established Ryota-mon. The number of Ryota-mon disciples was given at 3,000 in a tug of war with the Edo-za circle. The idiom of Ryota is said to be of plainness and with popular zest (Tsuzoku-mi). (Read a Haiku poem by Ryota)
- Mino school: Shiko (Kagami Shiko, 1665-1731), one of "Sho-mon Jittetsu," hailed from Mino and became the founding father of Mino-fu . Shiko is reputed to have been the best controversialist of Sho-mon. (Read a Haiku poem by Shiko)
- Ise school: Ryoto (Iwata Ryoto, 1659-1717), an early Edo period Haiku writer who had been under the tuition of Basho, was a Shinto priest in Ise Yamada and laid the foundation for Ise-fu . The idiom of Ise school led by Ryoto and his disciple Otsuyu (Nakagawa Otsuyu, 1675-1739) is also called Bakurin-cho, which is considered to be close to that of Mino school in terms of both being plain, common and familiar. In fact, it was referred to, together with Mino school, as "rural" Sho-mon.
Katsushika Sho-mon school: Sodo (Yamaguchi Sodo, 1642-1716) established Katsushika Sho-mon school (or Katsushika school). Sodo was an early and middle Edo period Haiku writer from Kai who formed an intimate friendship with Basho and contributed to the establishment of Basho's Sho-mon school as mentioned above. Sodo was a highly-educated Haiku writer who had studied the Chinese classics under the guidance of Hayashi Shunsai (also known under the name of Hayashi Gaho, 1618-1680), the son of Hayashi Razan and Confucian scholar vassal of the Tokugawa shogunate. (Read a Haiku poem by Sodo)

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 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, with the walking stick, on his missionary rounds. Sadamori heard about this, and he repented of his sin. Then he followed Kuya, walking with the Nembutsu for the rest of his life.
So, there has been handed down to (descendants of) 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 sort of tale of "the adrift noble birth" (Kishu Ryuri Tan : A type of narrative [folktale], in which a young deity or a hero of noble birth has come through the pain [tribulation] of drifting to an alien land or wandering in an alien land [e.g. the tragic exile of an exalted noble personage], and he meets his unfortunate end or becomes a god or an august personage. [The denouement is diverse]).
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 sein Gebrüll geliebt und geehrt. Aber der Hirsh ist 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 worden, und das bereitete ihm großen Kummer. Das ins Herz schließend, befestigte er das Geweih des getöteten Hirsches an seinem Gehstock und ging mit dem Gehstock auf seine Missionar-Runden los. Sadamori hörte von dieser Sache, und er bereute seine Sünde. Dann folgte er Kuya, mit dem Nembutsu für den Rest seines Lebens gehend.
Also es gibt das Herkunft-Dokument, das unter den (Nachfahren von) Hachitataki Leuten weitergegeben worden ist, in dem beschrieben wird, daß Taira no Sadamori der Ahn ist, das als eine Art von Geschichte von „der treibenden adligen Geburt“ (Kishu Ryuri Tan : Ein Typ von Erzählung [Volkserzählung], in der ein junges und göttliches Wesen oder ein Held von der adligen Geburt die Qual [Tribulation], auf ein fremdes Land zu treiben oder in fremdem Land zu wandern [z. B. die tragische Verbannung von einer erhaben-edlen Persönlichkeit], durchgemacht hat, und er sein beklagenswertes Ende findet or ein Gott oder eine illustere Persönlichkeit wird. [Der Ausgang ist unterschiedlich]) 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 writer ---
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).

"Kinuta": I try to draw it by hand in imitation of the picture included in Kogo Jiten, op. cit. But the dictionary does not name the source of the picture.

A genealogy of the Edo period Haikai schools (the Edo period Haiku masters and descendants of the schools) ---
cf. Akira Muramatsu and Akiho Yamaguchi and Toshimasa Wada eds., Kogo Jiten, Revised and New Edition (Japan: Obun Sha, 1988), a genealogical tree entitled "Haikai Keito Zu" in the appendix to this archaic words dictionary.

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.

"Hachitataki" in Shichiju-ichi-ban Shokunin Utaawase appeared presumably in 1500: What is planted on the ground beside a Hachitataki is an antlers-headed walking stick called Kasezue . As is well known, the famous portrait statue "Kuya Shonin Zo" at Rokuharamitsu-ji (a standing image of Priest Kuya [903-972], who was called "the sage of the streets" and "Amida saint," with the six Amida Buddhas [the six-character Name] coming out from the mouth. A work by Kosho, a sculptor of Buddhist images in the early Kamakura period) holds the Kasezue in his left hand. (See Note (2) above.)
"Edo Manzai" in Jinrin Kinmo Zui published in 1690: The garments that the Manzai duo are wearing are drawn with loud patterns and two persons in braided hats are depicted beside the duo (on the observers' left) against a background of a grove or trees in the copy. But I leave out the patterns and the persons and the background in my hand drawing.
"Saruhiki" in Ehon Otogi Shina-kagami written by Mitsunobu Hasegawa in 1730: The upper garments that a monkey and Saruhiki are wearing are drawn with the kimono patters (Monkey's garment with a large, auspicious pattern and Saruhiki's with a plain, waffle pattern) and two child spectators are depicted as a background (on the observers' right) in the copy. But I leave out the patterns and the background in my hand drawing.
And, though not included in the month-specific Kigo words above, "Shakuhachi" ("Komuso") in Jinrin Kinmo Zui published in 1690: The fence is drawn as a backdrop in the copy. But I leave out the fence.

Photos

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.

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.

B R with Photos and Haiku Poems counter started counting since January 19th, 2007

A Break Room with Photos and Haiku Poems

Haiku Poems

A haiku by Horst Ludwig

The works of Charlie Smith

As for Sakura - Japanese Cherry Blossom

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

Spring — The three spring months

Three spring months

1 Mu-tsuki

2 Kisaragi

3 Yayoi

Summer — The three summer months

Three summer months

4 U-zuki

5 Satsuki

6 Mi-na-zuki

Autumn — The three autumn months

Three autumn months

7 Fumi-zuki (also read as Fu-zuki)

8 Ha-zuki

9 Naga-tsuki

Winter — The three winter months

Three winter months

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

11 Shimo-tsuki

12 Shiwasu

Photos

The works of Richard Kett

A Photo by Richard Kett

A Photo by Richard Kett

A Photo by Richard Kett

From Richard Kett's Book Project AGikuyu

Früh am Neujahrstag: Ruhig verläßt die Fähre das Hafenbecken.

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.

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)

Angelika Wienert ed., Spring Issue (WHC-German) http://athenaeum-language.blogspot.com/2008/04/spring-issue-whc-german-2008.html

Angelika Wienert ed., Summer Special (WHC-German), June 2008 -- Udo Wenzel http://athenaeum-language.blogspot.com/2008/06/summer-special-june-2008-udo-wenzel.html

Angelika Wienert ed., Autumn Issue of World Haiku Club - German http://athenaeum-language.blogspot.com/2008/09/whc-german-autumn-issue-2008.html

Angelika Wienert ed., Winter Issue 2009 (WHC-German) http://athenaeum-language.blogspot.com/2009/01/whc-german-winter-issue-2009.html

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.)

A Break Room with Photos and Haiku Poems

Haiku Poems

A haiku by Horst Ludwig

The works of Charlie Smith

As for Sakura - Japanese Cherry Blossom

Some of Appellative Names of the Monthsand Some of Season Words

Spring — The three spring months

Three spring months

1 Mu-tsuki

2 Kisaragi

3 Yayoi

Summer — The three summer months

Three summer months

4 U-zuki

5 Satsuki

6 Mi-na-zuki

Autumn — The three autumn months

Three autumn months

7 Fumi-zuki (also read as Fu-zuki)

8 Ha-zuki

9 Naga-tsuki

Winter — The three winter months

Three winter months

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

11 Shimo-tsuki

12 Shiwasu

Photos

The works of Richard Kett

A Photo by Richard Kett

A Photo by Richard Kett

A Photo by Richard Kett

From Richard Kett's Book Project AGikuyu

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