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朝顔に釣瓶とられてもらい水 asagao ni tsurube torarete moraimizu Chiyojo - The morning glory has taken the well bucket, so I borrow water

朝顔に釣瓶とられてもらい水 (asagao ni tsurube torarete moraimizu) is the best-known verse of Kaga no Chiyo 加賀千代 (1703–1775). This study follows it from her own book of 1764 to the English that changed its first word.

Japanese Scroll of Chiyojo - The morning glory has taken the well bucket, so I borrow water (asagao ni tsurube torarete moraimizu) — Calligraphy by Eri Takase
Chiyojo - The morning glory has taken the well bucket, so I borrow water朝顔に釣瓶とられてもらい水asagao ni tsurube torarete moraimizu

Original art by Master Calligrapher Eri Takase

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Abstract

朝顔に釣瓶とられてもらい水, the well bucket taken by the morning glory: water from a neighbor, is a hokku of Kaga no Chiyo 加賀千代 (1703–1775), printed as 朝顔に釣瓶とられて囉らひ水 in 『千代尼句集』, the collection of her verse whose preface is dated the first spring of 1764 [1]. Her book and the two Edo anecdote books read here that print it, of 1798 and 1816, write に, while a form with や, morning glory, cut off and exclaimed, was told of her in a book of talk written down before 1747 and printed after 1751, cut on a memorial stone in 1811, and assumed in every reader's ear by a novel of Natsume Sōseki 夏目漱石 printed in 1907 [2][3][4][5][6]. The verse was loved, recast in Chinese verse, parodied, painted, mocked in comic verse, forged, called vulgar by Masaoka Shiki 正岡子規 and unnatural by Kōda Rohan 幸田露伴, and given its earliest known English や in 1951 by Suzuki Daisetsu 鈴木大拙, whose whole reading turns on it [7][8][9][10]. I read it with に, as a verse of wit and courtesy about a small domestic loss, and I think the wit is the verse, not a flaw in it.

Overview

The text. The verse as brushed here is 朝顔に釣瓶とられてもらい水, with the last word in modern kana, い. Her own collection of 1764 writes 朝顔に釣瓶とられて囉らひ水, the last word with the character 囉 and the old kana ひ [1]. The anecdote book 『続近世畸人伝』 of 1798 writes it all in kana, あさがほにつるべとられてもらひ水 [3]; 『俳家奇人談』 of 1816 gives it as a picture-poem whose first column ends in に [4]. The other form, 朝顔や釣瓶とられて貰ひ水, differs in one sound, the particle after the first word, and is taken in its turn below.

The sense. One morning the poet goes to the well and finds that a morning glory has wound its vine round the bucket's rope in the night; rather than tear it, she goes to a neighbor for water. That is the scene Shiki and the English tellings give it, and the verse itself says less: the bucket taken by the morning glory, and water got from another house. 朝顔 is a season word of autumn in her collection, where the verse closes its section on the flower, before the heading 稲妻 [1][11]. もらい水 is a noun, defined by the 精選版 日本国語大辞典 as よその家から水をもらうこと。また、その水。, getting water from another house; also, that water, and the dictionary's earliest example of the word is this verse, written as the 1764 book writes it, 「朝顔に釣瓶とられて囉らひ水」 [12].

The words. With に, the morning glory is the agent of a passive: the bucket was taken by the morning glory, as if by a thief, and the poet is the one put out. With や, the first five syllables are cut off and exclaimed, morning glory!, and the bucket's being taken has no stated agent. Shiki made the point from the other side: in the に form the verse has no cutting word at all [8]. The verse turns on the word とられて, taken, which makes a flower a thief, and on the last word, which turns a moment of looking into an errand. Its wit is what the dictionaries name: 日本国語大辞典 calls her manner 理知的、かつ通俗味を有し, intellectual, and with a popular flavor, and the ニッポニカ, 気のきいた理知の働き, the working of a clever wit [13].

The text in English. The earliest known English for the verse, on the house's shelf and in the Internet Archive's full text, is Basil Hall Chamberlain's of 1888, in a grammar of the spoken language, with the story and with a doubt about it [14][15]. The renderings since divide on the particle, on the last word (gift-water, I borrow water, I begged for water, water sought) and on whether the poet is in the verse at all. They are taken in order below.

The historical record

Before 1747. 『誹諧耳底記』, a book of talk about Bashō's school. 九十九庵風之, a poet of Bashō's line who died in 1747, wrote down a ranking of Bashō's pupils told as birds, in the manner of the rainy-night ranking of women in the Genji; his son printed it after his death, in the 宝暦 era (1751–1764), as its preface says, 亡父か手澤のいたつらに朽なん事のほいなく梓にちりはめて, sorry that my late father's papers should rot uselessly, I have cut them on the blocks [2]. In it a woman poet, figured as a bird of 二見 in Ise, is praised for two verses, in a passage whose quotation marks open and do not close [2]:

二見の風流にあそぶ女島の聲に「初雁やならべて聞は惜しい事「朝がほや釣瓶とられて貰水 此等の句は男とても成まじき秀逸なり

In the voice of the hen bird who plays in the elegance of Futami, "the first wild geese: a pity to hear them side by side," and "morning glory: the well bucket taken, borrowed water": verses so fine that even a man could not make them. The passage as printed reads 女島, which the sense makes 女鳥, hen bird. Chiyo is not named in the passage; she is identified by the two verses, since 初雁やならべて聞はおしい事 is also in her collection of 1764 [2][11]. Among the books of her lifetime that Nakamoto lists as carrying the verse, and in the National Diet Library's full-text search, this is the earliest known witness to it, and it writes や [16]. Nakamoto Jodō 中本恕堂, Chiyo's editor, read it as talk heard from Bashō's pupil 酒堂, who died in 1737, and took it to show that the verse was hers when she was young and was talked of in Bashō's school [16].

1764. 『千代尼句集』, her own collection. Compiled by 既白, with a kanbun preface ending 寳暦十四年甲申初春, the first spring of 宝暦14, 1764 [1]. In the autumn part, the last of nine verses under the heading 朝顔, before the heading 稲妻: 朝顔に釣瓶とられて囉らひ水 [1][11]. The small ら after 囉 is the column's own ら, and the ending reads 囉らひ水. This is the text of her own book, printed in her lifetime. The 日本国語大辞典 dates the collection 1763 and ブリタニカ 1764; the preface gives 1764 [12][13]. Her later collection, 『松の聲』 of 1771, has three verses under 蕣, the morning glory, and this is not among them [11].

Her own hand. Nakamoto, who collected Chiyo's autographs, knew of only two of this verse, both on screens painted by 内藤東圃 with her inscription: a twelve-panel pair seen before and after the war and since broken up, of which he says ともかく「朝顔に」と書かれた画賛ではあった, at any rate it was a painting with an inscription that wrote "asagao ni"; and a two-panel screen, one panel the gourd verse and one this, which he reproduces, its inscription given in his caption as 朝かほに / 釣瓶とられて / もらひ水 / 千代尼 [16]. Both write に. He adds that paintings of the scene at the well with this verse were forged in numbers [16].

1783. Rikunyo's Chinese quatrain. Rikunyo 六如 (1734–1801), a Tendai monk and poet in Chinese, printed in the first series of his collected verse, 『六如菴詩鈔』, a quatrain titled 牽牛花, the morning glory: 井邊移種牽牛花　狂蔓攀欄横復斜　汲綆無端被渠奪　近來乞水向隣家, I moved a morning glory and planted it by the well; its wild vine climbs the frame, across and slanting; the well rope, for no reason, is snatched by it; lately I go next door to beg water [7]. The title names neither Chiyo nor a haiku, as Donald Keene noted in 1976, Rikunyo does not refer to Chiyojo's poem [17]. His readers named her. The poet and scholar Tsusaka Tōyō 津阪東陽 headed a quatrain of his own 千代女郎牽牛花俳歌、膾炙人口、六如上人訳為詩、頗失本意、因戯作, Chiyo's haikai verse on the morning glory is on everyone's lips; the monk Rikunyo turned it into a Chinese poem and largely lost its intent; so I made this one in play [18]. A nineteenth-century manuscript notebook, 『南梁剳記』, catalogued under 小宮山昌玄, quotes a third recasting by a poet it names 西村昌, self-noted as 擬千代女俳哥, after Chiyo's haikai verse, and judges: 千代カ哥ニ及ハサルコト遠シ, it falls far short of Chiyo's verse, and of Rikunyo's, which came first, 愈及ハス, it falls shorter still [19]. An Edo reader ranked the haiku above its translations into the higher form. Chinese verse has no particles, so none of these can say whether its maker knew the verse with に or with や.

1798. 『続近世畸人伝』, an anecdote book. In the entry headed 加賀千代女, after a story of a painting she was asked to inscribe (whose verse is a different one, also beginning 朝がほや), the book gives this verse in kana and says how known it was: あさがほにつるべとられてもらひ水など人口に膾炙して, her verses such as "asagao ni tsurube torarete moraimizu" are on everyone's lips [3]. It writes に.

1811. The stone at 念西寺. A memorial mound for Chiyo at the temple 念西寺 in Kanazawa, raised for her thirty-seventh memorial year, carries the verse with や, as books on Kanazawa's monuments report it: 右側には有名な「あさがほや釣瓶とられて貰ひ水」、左側には「百生や蔓ひとすじの心より」の句が、また裏側には「文化八年一叟建立」, on the right the famous "asagao ya tsurube torarete morai mizu," on the left "hyakunari ya tsuru hitosuji no kokoro yori," and on the back "raised by 一叟 in 文化8," that is, 1811 [5]. The temple's own page names the mound and its date [5].

1814 to 1852. The actor and the prints. A print of 1814 by 芦国 shows a woman with a poem slip beside a bucket hung with morning glories, read as Chiyo, and its inscription by the Osaka actor Arashi Rikan 嵐璃寛 parodies the verse: 朝顔の露みてもらひ涙かな, seeing the dew on the morning glory, borrowed tears, as 仲三枝子 reports in her study of Chiyo's reception [20]. Of the eleven prints of Chiyo she lists, nine show the scene, seven of them by Utagawa Kuniyoshi 歌川国芳, from 1842 to 1852; she finds that in the morning-glory craze of the 天保 era the name Chiyo had come to mean the morning glory in Edo, Osaka and Kyoto [20]. The prints show the scene; they do not settle the words.

1816. 『俳家奇人談』, an anecdote book. Takeuchi Gengen'ichi 竹内玄玄一's book of eccentric haikai poets gives the verse as a picture-poem, block-cut, signed 千代, its first column ending in に and its second opening つるへ; the prose of the entry beside it does not quote it [4]. The same entry is the first print of her dragonfly verse, whose history is told in this library's study of 蜻蛉釣り [21].

Comic verse. The verse was laughed at in senryu, comic verse, for the very contrivance later critics named: 翌年は千代井戸端を去つて植ゑ, the next year, Chiyo planted it away from the well, in the collection 『滑稽発句類題集』, under 朝顔, read here in a typeset of 1928 [22]. The same joke appears with よけて, out of the way of, in a boys' magazine of 1894 [23].

Before 1902. Shiki. In 『俳諧大要』, read here in a printing of 1913, Shiki quoted the verse as 朝顔に釣瓶取られてもらひ水 and condemned it word by word: 此もらひ水といふ趣向俗極まりて蛇足なり, this device of the borrowed water is vulgar in the extreme, and superfluous; 取られてとは最俗なり, "taken" is the most vulgar of all; and 此句は人口に膾炙する句なれども俗氣多くして俳句とはいふべからず, this verse is on everyone's lips, but it is so full of vulgarity that it cannot be called a haiku [8]. In 『俳句問答』 he set it with Bashō's 辛崎の松 and 奈良七重 as a verse with no cutting word [8]. Both pages write に.

1907. Sōseki's joke, and Rohan. In 『坊っちゃん』, read here in its book printing of 1907, the narrator, asked whether he writes haiku, says 數學の先生が朝顏やに釣瓶をとられて堪るもんか, a mathematics teacher is not going to put up with having his bucket taken by a morning glory ya ni [6]. The joke runs the two particles together, や and に, and it works only if every reader knows the verse; the や the novel reaches for first is the form in the ear. In November 1907 a magazine printed a talk by Rohan on writing poetry, taken down by a reporter, in which he set the verse against a samurai's death poem that had sincerity and no art: 朝顏に釣瓶とられてもらひ水とかう云う樣なのは、あんまり技巧的に朝顏の花の美を現はしましたので技巧の美はなか〳〵美でありましても何うも不自然な感がして面白くありませぬ, a verse like this shows the beauty of the morning glory too artfully, and though the beauty of its art is real beauty, it somehow feels unnatural and does not please me [9].

1938. The verse for children, and a story of revision. In 1938 Nakamoto wrote a book on Chiyo for teachers, 『加賀の千代』, in a series of teaching materials; it records the verse in the tenth volume of the primary-school reader 『小學國語讀本』 as 朝顏につるべとられてもらひ水, and ties the reader's 朝顏に to 『千代尼句集』 [24]. In the story for children in the same book he wrote 千代さんが若い頃に作つた時は、にと書いたのでしたが後にやと改めたのであります, when Chiyo made it as a young woman she wrote に, but later she changed it to や, and printed the verse there with や [24]. No source for the story is given in the passages quoted here. In 1966 the same scholar wrote that she wavered between the two all her life, 朝顔にとしたり朝顔やとしたり, and surmised that she came to doubt the verse as its fame grew [16].

Paintings and forgeries. The verse was a subject for painters, and paintings of it were forged. In an entry printed in the collected works of Koizumi Sanshin 小泉三申 (1872–1937), the writer describes a silk hanging scroll with the verse, in its や form, as its design, signed 菱川師宣, which a local haikai master had judged genuine, until he worked out, by his own reckoning, that 師宣 had died some sixty years before Chiyo did and that some sly fellow had put the name on to raise the price [25]. Hiroaki Sato in 2008 reproduces a painting he gives to Chiyo whose inscription begins Asagao ya; the book gives no owner and no provenance [26].

The attribution, and the form. The verse has been Chiyo's in every witness read here that names a poet, from the book of before 1747, which identifies her by her verses, to the present. What has moved is its first word. Her own book of 1764 and the anecdote books of 1798 and 1816 write に, and so do both autographs Nakamoto knew [1][3][4][16]. や is in the book of talk written down before 1747 and printed in the 宝暦 era, the one Edo printing found with that form, on the stone of 1811, in the one reproduced painting, and in the ear of Sōseki's readers [2][5][26][6]. That she revised it, or wavered, is Nakamoto's reading, and no witness from her hand says so.

What is not a source. The story that she made the verse at a particular town or well is, in Nakamoto's words, an accretion of its fame [16]. The Chinese quatrains of Rikunyo, Tsusaka and 西村 are translations of the verse, not its source [7][18][19].

The verse in English

1888. Basil Hall Chamberlain. In A Handbook of Colloquial Japanese, as an example of the hokku, by the poetess Chiyo, who flourished in the last century: Asagao ni / Tsurube torarete, / Morai-mizu!, lit. "Having had my well-bucket taken away by the convolvuli,—gift-water!", with the story, and then: Whether the circumstance actually occurred or not, we cannot undertake to say; for Japanese poets are as much given to the invention of apocryphal esthetic incidents, as our own rhymsters of an earlier generation were to the invention of non-existent Chloes and Amelias [14]. The first English witness tells the story and doubts it in the same paragraph.

1890 and 1891. Edwin Arnold. In a letter dated 20 January 1890 and collected in Seas and Lands: A Japanese girl, going to her well in the morning, finds that a convolvulus during the night has twined round the pail, and goes next door; "Asagao / Tsurube torarete / Morai midzu.", literal translation, "Convolvulus / Bucket taking, / I borrow water", and a seven-line expansion beginning The 'Morning-glory' / Her leaves and bells has bound / My bucket-handle round [27]. He prints no particle and names no poet.

1899 to 1910. The doubt dropped. W. G. Aston, in A History of Japanese Literature (1899), quotes Chamberlain's rendering and story and leaves out the sentence of doubt [28]. Chamberlain himself, in his essay on Bashō and the poetic epigram of 1902, reprinted in Japanese Poetry (1910), tells the story again without it, and calls the verse one of the most famous productions of this Lilliputian literary form [29]. 仲三枝子 reaches the same reading of the 1902 essay [20]. By 1904 a Japanese critic, 沼波瓊音, was already writing about Arnold's English for the verse, as she reports [20].

1911. William N. Porter. In A Year of Japanese Epigrams, under 29 July, The Well Bucket: Asagao ni / Tsurube torarete / Morai mizu., How can I bear to rend / The creeper round the rope! I must / Beg water from a friend, signed Chiyo (a lady), with the note I take this verse from Sir Edwin Arnold's Seas and Lands, where it is explained that the poetess Chiyo went out one morning [30]. Arnold names no poet and prints no particle; Porter supplies both and credits them to Arnold.

1914. Noguchi Yonejirō. In The Spirit of Japanese Poetry he quotes Arnold's seven lines and a three-line version by Miss Walsh (All round the rope a morning glory clings), asks why the English mind must spend so much ink, and gives his own: The well-bucket taken away / By the morning-glory— / Alas, water to beg! [31]. In those years the Portuguese writer Moraes, living in Tokushima, wrote the verse on a wooden board in his garden, as 仲 reports from his book of 1914 to 1916 [20].

1932. Miyamori Asatarō. In An Anthology of Haiku Ancient and Modern, no. 381: 朝顔に釣瓶とられて貰ひ水, A morning-glory having taken / The well-bucket, I begged for water, with the note that the verse was celebrated from olden times but that modern poets often criticize it unfavourably on the ground that the poetess seems to pretend to an elegant taste, and five other renderings [32].

1936. Gilberte Hla-Dorge. In a French study of Chiyo: Açagao ni / T'souroubé toraré-té / Moraï mizou, with Revon's Par les liserons / Mon seau ayant été emporté / Eau reçue !, and a telling, after a M. Yoshimatsou, in which deux ou trois liserons s'arrachèrent, two or three of the vines tore before she spared the rest [33].

1938. Suzuki, in English only. In Zen Buddhism and Its Influence on Japanese Culture, in the passage that opens at the foot of p. 259: My bucket's captured / By the morning-glory, / And I beg for water, with no romanization [34]. By the morning-glory renders the に. The Japanese translation of the book, of 1940, writes 朝顔につるべとられて貰ひ水 in the 1997 printing 仲 quotes [20].

1942. R. H. Blyth. In Zen in English Literature and Oriental Classics, under The subject treated subjectively: The morning-glory / Clings to the well bucket— / I get water elsewhere., with 朝顔に釣瓶とられて貰ひ水, and: The action itself was all right, but we must say of the poem what Chōkei said to Hofuku [35].

1951. Suzuki, and the や. In "The Philosophy of Zen," in the second number of Philosophy East and West: Toward the end of the Tokugawa regime there was a poetess named Chiyo … Asagao ya! / Tsurube torarete, / Morai midzu., Literally it means: "Oh, the morning-glory. The bucket made captive, I beg for water", the I set off in square brackets in the journal, and a footnote, Would it be better to translate this, "Behold the morning glory!"? [10]. Chiyo, he says, remained speechless for a little while, until finally she could just say, "Oh, the morning glory!" [10]. The reading rests on the exclamation, and the exclamation is the や. It is the earliest known English text to print the や form, in English printed books and journals in the Internet Archive's full text; Chiyo died in 1775, not toward the end of the Tokugawa period [10][15].

1958. Harold G. Henderson. In An Introduction to Haiku, Chiyo's most often translated poem: By morning glories / I have had my well-bucket captured— / and I borrow my water!, with a word-by-word gloss and the note that in the original the last line is a compound noun [36].

1959. Suzuki again. In Zen and Japanese Culture, the revised and enlarged second edition of the book of 1938, the verse now reads Asagao ya! / Tsurube torarete / Morai mizu., Ah! Morning-glory! / The bucket taken captive! / I begged for water., and the same reading: she recovers herself from the reverie and murmurs, "Ah! Morning-glory!" [37]. The same book's text of 1938 had no や [34]. The books that print Asagao ya in the Internet Archive's full text are Suzuki's and those that quote him, and Sato's caption of 2008 [15][26].

1963. Blyth. In A History of Haiku, Asagao ni: The well-bucket / Having been taken by the morning-glory, / I borrow water, and: What is wrong with this verse is not that she is, or appears to be, boasting of her aesthetic tenderness of mind, but that the sudden perception of the frail sweetness of the tendrils of the morning-glory has no (poetical) connection with the going next door and asking for a pail of water [38].

1976. Donald Keene. In World Within Walls: The well-rope has been / Captured by morning-glories— / I'll borrow water., with Critics today, however, dismiss it as an inferior poem; elsewhere he sets it with Onitsura's bath-water verse as one in which the speaker is slightly too aware of his own sensitivity; and he renders Rikunyo's first line as I have planted the well morning-glories in a different place, where I read the Chinese 井邊移種 as moving the vine to the wellside [17][7].

1999. Makoto Ueda. In Light Verse from the Floating World, the senryu on the verse: the following year / Chiyo planted the flower / far from the well, with the verse in his note, my well-bucket / taken by the morning glory / I borrow water [39].

2008 and 2018. Hiroaki Sato. In Japanese Women Poets (2008), under the painting, The well-bucket taken by morning-glories, water sought, and in a note: Kōda Rohan … termed this hokku "fraudulent," with no source given [26]. Rohan's talk of 1907 above says 不自然, unnatural, and not, in its words, fraudulent; whether Sato renders that talk or another text is not known [9]. In On Haiku (2018) he writes that the 1816 anecdote book omits the verse; it omits it from the prose and gives it as the picture-poem beside it [40][4]. He prints Rikunyo's quatrain as 井辺移植牽牛花 狂蔓攀欄横腹斜, where the print of 1783 reads 移種 and 横復斜 [40][7].

Today. Word for word the verse says the morning glory (by) the well bucket taken, water from another house, with no I and no so, and the last word a noun. A rendering should keep the に, taken by the morning glory, and the noun at the end.

A reading

The record first. The verse in Chiyo's own book, and in the two Edo anecdote books read here that print it, is 朝顔に; the や is in a book of talk about her written down before 1747, on a stone after her death, and in the Meiji ear, and in English it is Suzuki's from 1951 [1][3][4][2][5][6][10]. Whether she ever wrote や is not known; that she revised the verse, or wavered, is Nakamoto's reading [24][16]. Whether the morning happened is not known either, and Chamberlain said so in 1888 [14].

The readings next. Edo readers loved the verse and ranked it above its Chinese recastings, and comic verse laughed at it; Shiki called it vulgar and Rohan unnatural; Blyth said the flower and the errand have no poetic connection; Suzuki made it a moment of speechless wonder, and to do so he needed the や [19][22][8][9][38][10]. None of this is mine.

What I sign is this. Read with に, the verse is a joke told against the speaker, and a courteous one. The morning glory has taken the bucket, the word one uses of a thief, and the poet, robbed, does not take it back; she goes next door and asks. もらい水 is an errand between neighbors, with the small loss of face that asking brings, and the verse ends on it. The wit that Shiki called vulgar and the dictionaries call 理知 is the verse; the comic verse that had her plant the vine away from the well next year understood it better than the critics who wanted it to be a sigh. Suzuki's や gives the verse a pause it did not have in her book, and a different poem. The one in her book is a small story about property and kindness, told in seventeen syllables with a smile, and I think it is the better one. Signed, 典.

Notes

The forms of the verse. Point by point, against the witnesses read for this history:

Sources not seen

『誹諧耳底記』 in an Edo printing. The 国書データベース of the 国文学研究資料館 records six copies (天理図書館綿屋文庫, three; 石川県立図書館 月明文庫; 京都大学 潁原文庫; 松宇文庫), none imaged; it is read here in the 1899 typeset of 『俳諧文庫』 13, which is not open to readers outside Japan. A copy would settle the passage's wording and whether the book names Chiyo.

『はしの松』, a manuscript notebook of verses compiled by 自来 with a preface of 宝暦7 (1757), which Nakamoto reports writes the verse 朝顔や; the 国書データベース lists the work (WID 1597235) with no holding. A copy would give the second witness to the や form in her lifetime.

The memorial mound for Chiyo at 念西寺, 金沢市泉二丁目, of 1811, known here from books that report its inscriptions; a photograph of its faces would settle the wording cut on it.

A reader with access to any of these is invited to write to Takase Studios at Tim@Takase.com.

References

  1. 無外庵既白 編, 『千代尼句集』, preface dated 宝暦十四年 (1764), the copy at Aichi University of Education, canvas 45 (the verse) and canvas 5 (the preface), at the 国書データベース, 国文学研究資料館. https://kokusho.nijl.ac.jp/biblio/100041085/45
  2. 九十九庵風之, 『誹諧耳底記』, in 『俳諧文庫』 第13編 『俳諧論集』, 博文館, 1899 (snippet view, National Diet Library). https://dl.ndl.go.jp/pid/1876185
  3. 三熊花顛 編, 伴蒿蹊 校, 『続近世畸人伝』, 寛政10 (1798), 巻之三, leaves 三十–三十一, canvases 118–120, the copy at Osaka Metropolitan University (森文庫), at the 国書データベース, 国文学研究資料館. https://kokusho.nijl.ac.jp/biblio/100055747/120
  4. 竹内玄玄一, 『俳家奇人談』, 文化13 (1816), 千代女 entry, leaves 十一–十二, canvas 104, at the 国書データベース, 国文学研究資料館. https://kokusho.nijl.ac.jp/biblio/100173968/104
  5. 高室信一, 『金沢・町物語』, 能登印刷, 1982 (snippet view, National Diet Library), https://dl.ndl.go.jp/pid/9539072 ; and 念西寺, at 金沢の寺社. https://kanazawa-jisha.com/nensaiji/
  6. 夏目漱石, 『坊っちゃん』, in 『鶉籠』, 春陽堂, 1907, p. 一二六, scan 67, at the National Diet Library. https://dl.ndl.go.jp/pid/885509/1/67
  7. 六如, 『六如菴詩鈔』 初編, 天明3 (1783), 卷之五, 七言絶句, 「牽牛花」, canvas 115, at the 国書データベース, 国文学研究資料館. https://kokusho.nijl.ac.jp/biblio/100225522/115
  8. 正岡子規, 『俳諧大要』, pp. 四五–四六, scans 29–30, and 『俳句問答』 下卷, p. 五, scan 282, in 『俳諧大要・俳人蕪村・俳句問答・俳句の四年間』, 籾山書店, 1913, at the National Diet Library. https://dl.ndl.go.jp/pid/947487/1/29
  9. 幸田露伴 (談), 「作詩に就いて」, 『東亜の光』 2 (11), 東亜協会, November 1907 (snippet view, National Diet Library). https://dl.ndl.go.jp/pid/1591412
  10. Daisetz Teitaro Suzuki, "The Philosophy of Zen," Philosophy East and West 1 (2), July 1951, p. 12 and its note 8, at the Internet Archive. https://archive.org/details/sim_philosophy-east-and-west_1951-07_1_2/page/n15
  11. 勝峯晋風 編, 『閨秀俳家全集』, 聚英閣, 1922: 『千代尼句集』, p. 一〇四, scan 70, and 『松の聲』, p. 一三二, scan 84, at the National Diet Library. https://dl.ndl.go.jp/pid/970129/1/70
  12. 「貰水」, 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/貰水-2088461
  13. 「千代女」, 精選版 日本国語大辞典, 日本大百科全書 (ニッポニカ) and ブリタニカ国際大百科事典 小項目事典, at kotobank. https://kotobank.jp/word/千代女-98376
  14. Basil Hall Chamberlain, A Handbook of Colloquial Japanese, 1888, § 468, p. 453, read on the house's shelf.
  15. Internet Archive, full-text search for "tsurube torarete", "asagao ni tsurube", "asagao ya tsurube", "morai mizu" and "morai midzu", run 15 October 2026. https://archive.org/search?query=%22tsurube+torarete%22&sin=TXT
  16. 中本恕堂, 『加賀の千代真蹟集』, 加賀の千代全集刊行会, 1966, pages 13, 50–55 and 75 of the HathiTrust copy's text, read on the house's shelf (search-only at HathiTrust). https://babel.hathitrust.org/cgi/pt?id=wu.89107420770
  17. Donald Keene, World Within Walls: Japanese Literature of the Pre-Modern Era, 1600–1867, 1976, pp. 67, 340 and 546, read on the house's shelf.
  18. 津坂治男, 『津坂東陽伝』, 桜楓社, 1988 (snippet view, National Diet Library), https://dl.ndl.go.jp/pid/13326048 ; and 『新日本古典文学大系』 65, 岩波書店, 1991 (snippet view, National Diet Library). https://dl.ndl.go.jp/pid/13491070
  19. 『南梁剳記』, manuscript, catalogued under 小宮山昌玄, nineteenth century, scan 35, at the National Diet Library. https://dl.ndl.go.jp/pid/2537935/1/35
  20. 仲三枝子, 『加賀千代女の受容評価と「献上句」』, doctoral dissertation, 埼玉大学, 2025, pp. 23, 25, 27, 31, 34, 35, 39 and 47, at the Saitama University repository. https://doi.org/10.24561/0002001416
  21. 典, 「蜻蛉釣り今日はどこまで行ったやら」, Takase Studios Library. https://takase.com/library/philology/tonbo-tsuri-kyo-wa-doko-made-itta-yara
  22. 『滑稽発句類題集』 二編 上巻, 秋部, 朝顔, in 『近代日本文学大系』 24, 国民図書, 1928, p. 四二六, scan 239, at the National Diet Library. https://dl.ndl.go.jp/pid/1172333/1/239
  23. 『日本之少年』 6 (8), 博文館, April 1894 (snippet view, National Diet Library). https://dl.ndl.go.jp/pid/1801572
  24. 中本恕堂, 『加賀の千代』 (教材叢書 1), 興学会教育部, 1938 (snippet view, National Diet Library). https://dl.ndl.go.jp/pid/1461850
  25. 小泉三申, 『小泉三申全集』, 岩波書店, 1942, p. 262, scan 143, at the National Diet Library. https://dl.ndl.go.jp/pid/1038128/1/143
  26. Hiroaki Sato, Japanese Women Poets: An Anthology, M. E. Sharpe, 2008, p. xli, and note 85, p. 169, read on the house's shelf.
  27. Edwin Arnold, Seas and Lands, Longmans, Green, first edition 1891, the printing of 1894, ch. XXI, pp. 341–342, at the Internet Archive. https://archive.org/details/cu31924075243687
  28. W. G. Aston, A History of Japanese Literature, 1899, p. 296, read on the house's shelf.
  29. Basil Hall Chamberlain, Japanese Poetry, John Murray, 1910, p. 167, no. 15, read on the house's shelf.
  30. William N. Porter, A Year of Japanese Epigrams, 1911, p. 57 and note 64, p. 121, at the Internet Archive. https://archive.org/details/a-year-of-japanese-epigrams
  31. Yone Noguchi, The Spirit of Japanese Poetry, 1914, pp. 49–50, read on the house's shelf.
  32. Miyamori Asatarō, An Anthology of Haiku Ancient and Modern, Maruzen, 1932, no. 381, pp. 424–426, read on the house's shelf.
  33. Gilberte Hla-Dorge, Une poétesse japonaise au XVIIIe siècle: Kaga no Tchiyo-jo, G.-P. Maisonneuve, 1936, pp. 102–103, at the Internet Archive. https://archive.org/details/IA41549904_0020/page/n103
  34. Daisetz Teitaro Suzuki, Zen Buddhism and Its Influence on Japanese Culture, Eastern Buddhist Society, Kyoto, 1938, pp. 259–260, at the Internet Archive (lending copy, full-text search; the windows read do not show the verse's own page). https://archive.org/details/zenbuddhismitsin0000dais
  35. R. H. Blyth, Zen in English Literature and Oriental Classics, Hokuseido, 1942, p. 79, read on the house's shelf.
  36. Harold G. Henderson, An Introduction to Haiku, Doubleday Anchor, 1958, p. 83, read on the house's shelf.
  37. Daisetz T. Suzuki, Zen and Japanese Culture, Princeton University Press, 1959, pp. 244–246, read on the house's shelf.
  38. R. H. Blyth, A History of Haiku, vol. 1, Hokuseido, 1963, p. 219, read on the house's shelf.
  39. Makoto Ueda, Light Verse from the Floating World: An Anthology of Premodern Japanese Senryu, Columbia University Press, 1999, p. 246, read on the house's shelf.
  40. Hiroaki Sato, On Haiku, New Directions, 2018, in the publisher's EPUB text, read on the house's shelf.

Authors

Tim Jackowski (Systems Architect, Takase Studios, LLC) · 典 Ten (Anthropic Claude Opus 5.5, Takase Studios, LLC)

AI written · Ten wrote the history. Tim Jackowski commissioned it and answers for it.

Not yet reviewed.

Cite as: Tim Jackowski and Ten, "Philology of 朝顔に釣瓶とられてもらい水 (asagao ni tsurube torarete moraimizu)," Takase Studios, 2026, https://takase.com/library/philology/asagao-ni-tsurube-torarete-moraimizu.