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\n\u3000
\n\u25cf\u304a\u77e5\u3089\u305b
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\nhttps:\/\/amzn.asia\/d\/eUiv9yO<\/a>
\n\"\"<\/a><\/p>\n

English version\u2b07\u3000<\/p>\n

[Matsuo Basho’s journey in \u201cOku no Hosomichi\u201d]
\nThis journey took place four or five years before his death. The meaning of life had changed, but that is precisely why I am attracted to the spirit of literary creation and its stylistic nature. …<\/p>\n

\u3000For someone like me, born after the war and raised under postwar education, literary works of prose and long-form writing from the Meiji period onwards\u2014specifically those from the era of Natsume Soseki and later\u2014have been accepted as the foundation of Japanese culture. From such a perspective, the cultural resonance of the seven-five or five-seven syllable structure in \u201cOku no Hosomichi\u201d and its constituent elements evoked a strong sense of archaic language. I think the Meiji-era mindset of \u201cleaving Asia and entering Europe,\u201d along with Japan’s basic \u201cupwardly mobile\u201d orientation toward modernization and industrialization, continued to exert a significant influence on people’s minds. However, Natsume Soseki had a close friend in Masaoka Shiki, with whom he shared a residence in Matsuyama, Shikoku, even living together (laughs). They must have resonated with each other in the \u201cwave-like\u201d part where the root expressions were born.
\nWhether it be haiku or tanka, all Japanese poetry is composed of combinations of \u201c5 and 7\u201d sounds. The following theory is generally accepted as the origin of this.
\n\u25cfYamato words are based on two-syllable words (e.g., flower, moon, snow) and three-syllable words (e.g., life, heart, strength), and combining these words naturally creates a rhythm of five and seven syllables.
\n\u25cfUnlike the stress-based rhythm of English, Japanese rhythm is based on the number of syllables. Therefore, the combination of five and seven syllables is easily recognized as a pleasant rhythm by Japanese speakers.
\n\u25cfIn addition, as rice cultivation spread and became rooted in people’s lives, two-beat and four-beat rhythms were naturally accepted.
\n Matsuo Basho lived during this 50-year period of Japanese cultural poetry from 1644 to 1694.
\n\u3000He is remembered as a literary figure representing the nation through his masterpiece \u201cOku no Hosomichi.\u201d He demonstrated a presence rivaling that of Saigyo as a \u201cliterary figure\u201d in pre-modern Japan. He began his serious literary activities in Edo in 1675, at the age of 30. He was around 30 years old at the time. From there, in 1689, at the age of 44, he undertook the research and \u201cperformance\u201d journey for \u201cOku no Hosomichi.\u201d He passed away four to five years after this journey, which is truly tragic. It is likely that the numerous publications of his works afterward greatly contributed to the evaluation of his achievements.
\n\u3000It is also fascinating to consider how such poetic culture could have economically sustained itself in Japan. In modern society, publishing has become widespread, and television serves as an overwhelming tool for information dissemination. Yet even within such mechanisms, this work has continued to exert an overwhelming presence. <\/p>\n

\u25cfNotice
\nMy book \u201cWriters and Living Spaces\u201d has been published as an e-book by Gentosha.
\nAvailable for purchase on Amazon.<\/p>\n","protected":false},"excerpt":{"rendered":"

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