{"id":47002,"date":"2025-08-23T06:34:32","date_gmt":"2025-08-22T21:34:32","guid":{"rendered":"https:\/\/kochihen.replan.ne.jp\/?p=47002"},"modified":"2025-08-23T06:34:32","modified_gmt":"2025-08-22T21:34:32","slug":"%e3%80%90%e3%81%aa%e3%81%9c%e8%8a%ad%e8%95%89%e3%81%af%e3%80%8c%e6%9d%be%e5%b3%b6%e3%80%8d%e3%82%92%e8%a9%a0%e3%81%be%e3%81%aa%e3%81%8b%e3%81%a3%e3%81%9f%e3%81%8b%ef%bc%9f%ef%bc%8f%e4%ba%94%e4%b8%83","status":"publish","type":"post","link":"http:\/\/kochihen.replan.ne.jp\/?p=47002","title":{"rendered":"\u3010\u306a\u305c\u82ad\u8549\u306f\u300c\u677e\u5cf6\u300d\u3092\u8a60\u307e\u306a\u304b\u3063\u305f\u304b\uff1f\uff0f\u4e94\u4e03\u8abf\u65e5\u672c\u8a9e\u306e\u65c5-5\u3011"},"content":{"rendered":"

\"\"<\/a>
\n\"\"<\/a>
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\n\u3000\u5965\u306e\u7d30\u9053\u306e\u300c\u66fd\u826f\u300d\u3055\u3093\u306e\u6e05\u66f8\u3055\u308c\u305f\u6587\u7ae0\uff08\u300e\u304a\u304f\u306e\u307b\u305d\u9053\u300f\u7d20\u9f8d\u6e05\u66f8\u672c\uff09\u3067\u306f\u3001\u677e\u5cf6\u306e\u6761\u3067\u306f\u4ee5\u4e0b\u306e\u3088\u3046\u306a\u8a18\u8ff0\u3002
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\n\u3000\u4f0f\u3059\u3082\u306e\u306f\u6ce2\u306b\u306f\u3089\u3070\u3075\u3002<\/p>\n

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\n\u3000
\n\u3000\u96c4\u5cf6\u304c\u78ef\u306f\u3001\u5730\u7d9a\u304d\u3066\u6d77\u306b\u51fa\u3067\u305f\u308b\u5cf6\u306a\u308a\u3002
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\n\u3000\u307e\u3065\u306a\u3064\u304b\u3057\u304f\u7acb\u3061\u5bc4\u308b\u307b\u3069\u306b\u3001
\n\u3000\u6708\u3001\u6d77\u306b\u6620\u308a\u3066\u3001\u663c\u306e\u306a\u304c\u3081\u3001\u307e\u305f\u3042\u3089\u305f\u3080\u3002\u3000
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\n\u3000\u7a93\u3092\u958b\u304d\u4e8c\u968e\u3092\u4f5c\u308a\u3066\u3001
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\u3000\u677e\u5cf6\u3084\u3000\u9db4\u306b\u8eab\u3092\u501f\u308c\u3000\u307b\u3068\u3068\u304e\u3059\u3000\u3000\u66fe\u826f
\n\u3000
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\n\uff1c\u4ee5\u4e0a\u3001\u5965\u306e\u7d30\u9053 \u539f\u6587\u5168\u6587<\/a>\u3088\u308a\u8ee2\u8f09\u3002\uff1e
\n\u3000
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\n\u3000\u3084\u306f\u308a\u97f3\u7bc0\u91cd\u8996\u306e\uff15\uff17\u8abf\u306b\u3088\u308b\u8a60\u5606\u8868\u73fe\u3068\u3044\u3046\u65e5\u672c\u6587\u5b66\u306e\u4e3b\u8981\u306a\u30c6\u30fc\u30de\u6027\u306b\u65bc\u3044\u3066\u3001\u3053\u308c\u3089\u306e\u60c5\u666f\u304c\u3082\u3063\u3068\u3082\u300c\u6b4c\u6795\u300d\u3068\u3055\u308c\u3084\u3059\u3044\u3068\u3044\u3046\u3053\u3068\u306a\u306e\u3060\u308d\u3046\u3002
\n\u3000\u677e\u5cf6\u306b\u3068\u3063\u3066\u82ad\u8549\u3055\u3093\u304c\u53e5\u3092\u6b8b\u3055\u306a\u304b\u3063\u305f\u3053\u3068\u306f\u3001\u6848\u5916\u826f\u304b\u3063\u305f\u306e\u304b\u3082\u77e5\u308c\u306a\u3044\u3002
\n\u3000\u300c\u7279\u5225\u300d\u611f\u304c\u3088\u308a\u304d\u308f\u3060\u3064\u52b9\u679c\u304c\u3042\u3063\u305f\u306e\u3067\u306f\u3068\u3082\u601d\u3048\u308b\u3002\u3046\u301c\u3080\u3002\u3068\u3066\u3082\u6575\u308f\u306a\u3044\u307f\u305f\u3044\u306a\uff08\u7b11\uff09\u3002<\/p>\n

\u25cf\u304a\u77e5\u3089\u305b
\n\u62d9\u66f8\u300c\u4f5c\u5bb6\u3068\u4f4f\u7a7a\u9593\u300d\u5e7b\u51ac\u820e\u304b\u3089\u96fb\u5b50\u66f8\u7c4d\u3067\u767a\u520a
\n\u304a\u6c42\u3081\u306fAmazon\u3067\u3002
\nhttps:\/\/amzn.asia\/d\/eUiv9yO<\/a>
\n\"\"<\/a><\/p>\n

English version\u2b07\u3000
\n\u3000
\nWhy didn’t Basho write about Matsushima? \/ A Journey Through Japanese Poetry in 5-7 Syllable Verse – 5
\nThe original text, \u201cOku no Hosomichi,\u201d contains quite detailed and intricate expressions of emotion. It conveys a sense of mystery and wonder, as well as a sigh of admiration. …<\/p>\n

\u3000Basho traveled along the Oku no Hosomichi as a \u201cjourney to visit places mentioned in poems,\u201d but for some reason, he left no poems about Matsushima. (The photo is unrelated. It shows yesterday’s \u201cfish scale clouds\u201d in Sapporo and Google Maps’ \u201cMatsushima.\u201d)
\nIn the neatly written text of \u201cSora\u201d from Oku no Hosomichi (Soryu Seisho-bon), the following description appears in the section on Matsushima.
\n\u3000Matsushima is the finest scenery in Japan,
\ncomparable to Dongting Lake and West Lake.
\nFrom the southeast, the sea flows in,
\nand within three miles of the river, the tides of the Zhejiang River surge.
\nThe number of islands is countless,
\nsome pointing toward the sky,
\nothers lying flat on the waves.<\/p>\n

\u3000Some overlap in two layers, others in three,
\nbranching left and right.
\nSome bear others, some embrace others, like parents loving their children. <\/p>\n

The green of the pines is delicate, their branches and leaves swaying in the sea breeze,
\nbending naturally as if straightened.
\nTheir appearance is serene, like the face of a beautiful woman adorned with makeup.
\n\u3000In the ancient days of the gods,
\nwas this the work of the great mountain gods?
\nThe work of nature’s artistry,
\nwho could possibly wield a brush and find the words to describe it?<\/p>\n

Oshima is an island connected to the mainland by a strip of land.
\nThere are traces of the hermitage of the monk Unkyu, including a meditation stone.
\n\u3000Indeed, people who shun the world can be seen
\nrarely in the shade of the pine trees,
\nliving quietly in grass huts scattered with fallen ears of rice and pine cones,
\nwithout anyone knowing who they are.
\nYet, one cannot help but feel a sense of familiarity upon visiting them,
\nas the moon reflects on the sea,
\nand the daytime view is renewed.\u3000
\n\u3000Returning to the river, I seek lodging,
\n opening the window and building a second floor,
\n sleeping in the midst of wind and clouds,
\n a strange yet wonderful feeling. <\/p>\n

Matsushima, borrow the body of a crane, hototogisu. <\/p>\n

I close my mouth and try to sleep, but cannot.
\n\u3000When parting from the old hermitage, Sodo composed a poem about Matsushima.
\nHara Yasutoki presented a waka poem about Matsushima.
\nOpening the bag, I made it my companion for the night.
\nAdditionally, Sugi Kaz\u00e9 and Nakago composed haiku. <\/p>\n

\u3000Such descriptions include the phrase \u201cY\u016b\u201d being recorded as \u201cclosing his mouth and trying to sleep but unable to do so.\u201d Is this an honest \u2018impression\u2019? The only other description is of his disciple S\u014dry\u014d’s poem, \u201cMatsushima, borrow the body of a crane, hototogisu.\u201d
\n\u3000The scene is described in great detail, with the phrase \u201ca mysterious, wonderful feeling\u201d suggesting that the author’s impressions of the place were indeed vivid.
\n It seems that the Japanese of that era had a strong emotional connection to the scenery of the \u201carchipelago sea.\u201d Later, he also visited \u201cKisakata\u201d in Akita, Tohoku, which was once known as an archipelago sea but is now dry. Here too, the contrast with Matsushima was mentioned. All three of Japan’s Three Scenic Views\u2014Matsushima, Amanohashidate, and Itsukushima\u2014feature the beauty of the landscape where sea and land meet.
\n Perhaps it is because these scenes are most easily associated with \u201cutamakura\u201d (poetic motifs) in Japanese literature, which emphasizes the rhythmic structure of 5-7 syllable verses.
\n\u3000Perhaps it was for the best that Basho did not leave any haiku about Matsushima.
\nIt may have had the effect of making it feel even more \u201cspecial.\u201d Hmm. It’s really no match (laughs). <\/p>\n

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

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