菜の花や月は東に日は西に na no hana ya tsuki wa higashi ni hi wa nishi ni Buson - Rapeseed flowers: the moon in the east, the sun in the west

菜の花や月は東に日は西に (na no hana ya tsuki wa higashi ni hi wa nishi ni) opened Yosa Buson 与謝蕪村's linked-verse session of 3 May 1774. On that evening the moon was not yet up at sunset, a point a scholar made in 1982. Readers since have disagreed about the moon, and since 1904 some have read the scene as made rather than seen.

Buson - Rapeseed flowers: the moon in the east, the sun in the west菜の花や月は東に日は西にna no hana ya tsuki wa higashi ni hi wa nishi ni

Original art by Master Calligrapher Eri Takase

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Abstract

菜の花や月は東に日は西に, rapeseed flowers: the moon in the east, the sun in the west, is a hokku by Yosa Buson 与謝蕪村 (1716–1784), the opening verse of a linked-verse session he held with 樗良 and 几董 on the 23rd day of the third month of 安永3, by 几董's diary, which is 3 May 1774; it was printed in 『続明烏』 in 1776 and collected in 『蕪村句集』 in 1784 ^[1][2][3][4]. On that date the moon was some twenty-two days old and rose near midnight, so the scene could not have been seen that evening, as 山下一海 noted in 1982 ^[5]. 几董, who wrote the third verse that day, read the scene in 1786 as about four in the afternoon, with a moon of about the tenth day already up in daylight; in 1904 佐藤紅緑 read it as an abstraction of a spring scene rather than a sketch from life; and later readers have given the moon four different ages ^[6][7]. I read it as a made scene, the season's whole evening set down as the opening of a session, and I do not think that makes it less.

Overview

The text. The verse as brushed here is 菜の花や月は東に日は西に, every noun in kanji. 『続明烏』, printed in 1776, writes 菜乃花や月ハ東に日ハ西に, with 乃, a kana form of の, and ハ for は ^[3]; 『蕪村句集』, with a colophon dated 1784, writes 菜の花や月ハ東に日ハ西に ^[4]. A screen of Buson's verse drafts, 句稿屏風, from which 諸井康子 printed the verse in 1974, writes なの花や月ハ東に日ハ西に, with the first word in kana ^[8]. The words do not change between them, only the script.

The sense. 菜の花 is, in デジタル大辞泉, アブラナの花。菜種の花。, the flower of the rape plant; the flower of 菜種, a season word for spring, 《季 春》, and the dictionary's example is this verse ^[9]. 日本国語大辞典's note on 菜種 says that the word once meant the seed of any green vegetable, and that from the sixteenth century, as the rape plant spread under the name 菜種油, rapeseed oil, ナタネ came to mean its seed and ナノハナ its flower ^[10]. The plant was grown for its oil, and the 世界大百科事典 says that the flowering this verse describes is that of the older kind, brought from China for its oil and grown in Japan since long ago, since replaced in the fields by the European kind ^[9]. や cuts the verse after the first five syllables. 月は東に日は西に is two matched phrases, the moon, in the east; the sun, in the west, with no verb: the line does not say whether the moon is rising or the sun setting. So the line says: rapeseed flowers; the moon in the east, the sun in the west.

The words. The verse turns on the two phrases set side by side, and on what they leave out. They give the two lights their places and nothing else: no time of day, no motion, no phase of the moon. Every reading of the verse below supplies at least one of those, and the readings differ in which. 樗良's second verse at the session, 山もと遠く鷺かすみ行, far off at the foot of the hills, a heron fades into the haze, answers it with a third thing in the distance and a word of spring ^[2][6].

The text in English. The earliest known rendering in English, on the house's shelf and in the Internet Archive's full text, is Miyamori Asatarō's of 1932; the earliest known in any language, in those texts, is in Spanish, of 1928. The renderings divide on the flower (rape, mustard, rapeseed) and, in two of them, on the order of the two lights. They are taken in order below.

The historical record

1772. What was in the air. Two east-and-west lines were in print in Buson's circle two years before the verse. 『山家鳥虫歌』, a collection of country songs whose preface is dated 1771, prints under 丹後 the song 月ハ東にすばるハ西にいとし殿ごハまん中に, the moon in the east, the Pleiades in the west, and my darling in between ^[11]. And 『其雪影』, a memorial collection made by 几董, opens, after a preface signed 明和壬辰秋　夜半亭蕪村書, autumn 1772, written by Buson of the Yahantei, on a line of the masters' verses, the first 稻妻やきのふは東けふは西, lightning: yesterday in the east, today in the west, signed 晋其角 ^[12]. 其角's verse is in 『曠野』 of 1689, in its early-autumn section ^[13]. Neither page says anything about the verse of 1774; they show what words of this shape were in front of its poets.

1774. The session. 潁原退蔵 printed the session's whole sequence in 1925 from 几董's diary, 『宿の日記』, and his head note gives its date: 几董の「宿の日記」によれば安永三年の吟なり。右の日記には「三月廿三日卽興」と前書し、歌仙一卷滿尾せり。, by 几董's diary it was composed in 安永3; the diary heads it "impromptu, the twenty-third of the third month", and records a full kasen ^[2]. A typeset of the diary of 1930 shows the same heading in its search passage, 是三月廿三日卽興菜の花や月は東に日は西に ^[14]. The 23rd day of the third month of 安永3 is 3 May 1774, the date Makoto Ueda gives ^[15]. That night a second sequence followed, 同夜漫興 ^[2][15]. On the 23rd day of a lunar month the moon is about twenty-two days old, past the last quarter, and rises near midnight; it is not in the sky at sunset. 山下一海 made the point in 1982, as 後藤秋正 quotes him: 旧暦二十三日の作だとすると、その日は月の出がおそく、「月は東に日は西に」という情景を実際に見ることはできない, if it was composed on the 23rd day of the lunar month, the moon rose late that day, and the scene "the moon in the east, the sun in the west" could not actually be seen; and he went on, 景の実際がどうであったかにはこだわらなくていい, we need not fuss over what the scene really was ^[5]. The diary itself survives in manuscript and was not seen for this history.

1776. 『続明烏』. 几董 printed the sequence in 『続明烏』, under the heading 春興　廿六句, spring pleasures, twenty-six verses: 菜乃花や月ハ東に日ハ西に　蕪村 / 山もと遠く鷺かすみ行　樗良 / 渉し舟酒債貧しく春くれて　几董 ^[3]. A kasen has thirty-six verses; Ueda: published two years later in Crows of Dawn: A Sequel, without the last ten verses for some reason, and 潁原 in 1943: その二十六句までを『續明烏』に收めてある, 『続明烏』 holds it as far as the twenty-sixth verse ^[15][16].

1784. 『蕪村句集』. In Buson's collected verse, made after his death, with a colophon dated 1784, the verse stands in the spring section under the heading 春景, spring scene, first of three verses on rapeseed flowers ^[4]. 春景 is not in 『続明烏』, where the sequence has only its heading 春興.

1786. 几董's reading. Twelve years after the session, in a book teaching the art of the second verse, 『附合てびき蔓』, 几董 set out the hokku and 樗良's answer, and explained the hokku: 月は東に日は西にといふたは、春の長い日の凡七ツ時分とさだめ、十日比と見て、月も晝のうちから出てあるを見た所が、一めんに菜たねの花ざかりで、外にものもなき景色なり, "the moon in the east, the sun in the west" fixes it at about the hour of the Seventh on a long spring day, about four in the afternoon; take it as about the tenth day of the month, the moon already out while it is still day; and all around, rapeseed in full flower, and nothing else in the view ^[6]. The leaf of 1786 and the typeset of 1927 agree in every word read ^[6]. The poet who wrote the third verse that day does not read a full moon, and he does not read the 23rd: he gives the scene a day of the month that suits it.

1897 to 1906. Shiki's circle, and the made scene. Masaoka Shiki 正岡子規 (1867–1902), in his 『俳人蕪村』, read here in a printing of 1913, lists the verse among those in which Buson, trying many devices in the shaping of the verse (句法), made 或は漢詩的に或は古文的に、古人の未だ曾て作らざりし者, in the manner of Chinese verse or of old prose, things no earlier poet had made ^[17]. 大野洒竹, in his 『与謝蕪村』 of 1897, under the heading 俳句（兩極觀）, the haiku: the view of two poles, set it beside 梅遠近南すへく北すへく as one of the verses that 方向の兩極を寫せる, paint the two poles of direction ^[18]. In the lectures on 『蕪村句集』 in which Shiki, 鳴雪 and the circle of the magazine Hototogisu spoke in turn, printed in their spring part in 1900 and read here in the four parts bound together (catalogued 1900–1911), 鳴雪 said the heading 春景 means only spring scenery and that, apart from its skill, it is 餘り面白い句では無い, not much of a verse; Shiki, that the heading was needed in its day, since without it a reader might reason out unpleasant things from so wide a scene; and the transcript closes, 子規、虛子二君碧梧桐は之を面白い句と辯ず, Shiki and Kyoshi, and Hekigotō, argue that it is an interesting verse ^[19]. In 1904 佐藤紅緑 read the scene: the field of flowers, the sun sinking in deep red in the west, and 東の方より一箇の銀鏡圓かに上り出でたる, from the east a single silver mirror rising round; he says that the moon in the east while the sun is still in the west is 毫も異とするに足らず, nothing remarkable at all, and then: されど此句は實際に於て其光景を見たる時の寫生と云はんよりは寧ろ春景の抽象美に過ぎずと見るの可なるを思ふ, but I think it better to take this verse as no more than the abstract beauty of a spring scene, rather than a sketch made when that sight was actually seen; and at the end, 此句は寫生として見んよりは寧ろ春景を表はし得べき極秘を捻出せる抽象的の俳句と見る方至當なるべし, it is more proper to see it as an abstract haiku that draws out the secret of how a spring scene may be expressed than as a sketch from life ^[7]. His argument is not from the calendar: he grants the sight is possible, and reads the verse as composed. In 1905 寒川鼠骨, teaching beginners, gave a line 稻妻や月は東に日は西に as 其角's, made from a poem of 人麻呂's, and said Buson then imitated it ^[20]. 其角's verse is the 稻妻やきのふは東けふは西 above; the line 寒川 quotes is 其角's first five syllables joined to Buson's last twelve. In 1906 内藤鳴雪 read it as evening, the moon already seen in the east while the sun is not yet down in the west, 如何にも廣い景色で、且一種際どい配合を見つけたものである, a truly wide scene, and a combination found right at the edge ^[21].

1925 to 1946. The moon's age, and the moon as a figure. In October 1925 芥川龍之介, in 「明治文藝に就いて」, used the verse for two men of letters who lived in Negishi: 子規は卽ち昇らんとする月、篁村は卽ち沈まんとする――或は旣に沈みたるの日のみ, Shiki is the moon about to rise; 篁村 is the sun about to set, or already set ^[22]. In 1926 野口米次郎 took over 佐藤's sentence nearly word for word, without his name: 茜の色濃く西に沈みかける太陽は黄金色である。そしてそれに對照する東天の月は正にこれ圓かに上る一箇の銀鏡だ, the sun sinking deep red in the west is golden; and the moon in the eastern sky against it is truly a single silver mirror rising round; he adds that he saw both at once himself, from Westminster Bridge in London ^[23]. The two are one witness for the round moon, not two. In 1934 河東碧梧桐, who had argued for the verse in those lectures, gave it a moon of the fifth or sixth day: 春の日永時分、日は西に入りかけてゐる、と見ると五六日頃の宵月が、もうほの白う東の空にかゝつてゐる, in the long days of spring, the sun is about to set in the west, and look, an evening moon of the fifth or sixth day already hangs pale in the eastern sky ^[24]. 萩原朔太郎's 『郷愁の詩人与謝蕪村』, of 1936 and read here in a printing of 1946, set the verse among Buson's spring verses whose mood he likened to the Man'yōshū's, and in his note on the verse wrote これも明るい近代的の俳句であり、萬葉集あたりの歌を聯想される, this too is a bright, modern haiku, and it calls to mind poems of the Man'yōshū or thereabouts, then gave 人麻呂's poem, 東の野に陽炎の立つ見えて顧みすれば月傾きぬ, on the eastern moor the dawn light can be seen rising; I look back, and the moon is sinking ^[25]. 中村草田男 in 1943, as 後藤 quotes him, named the same poem and added 蕪村が其知識を基として、此句を作つたと考へるには及ばない, there is no need to think Buson made this verse on that knowledge ^[5].

After 1949. The sources, the calendar, and the mountain. In 1956 清水孝之 named 陶淵明's 雑詩, the second of twelve, 白日淪西阿　素月出東嶺, the white sun sinks behind the western slope; the pale moon comes out over the eastern ridge, and called the verse its rendering as haiku, この句は「……」(陶淵明「雑詩其二」) の俳句化である, as 後藤 quotes him, allowing in the same note that 其角's 稲妻やきのふは東けふは西 may also have been in the poet's mind; the 丹後 song was brought in after it, by the head notes of the 日本古典全書 『与謝蕪村集』 of 1957, as 後藤 reports ^[5][26]. The earliest known books that set the poem beside Buson, in the NDL Digital Collections' full text, are of 1957 ^[27]. 暉峻康隆 in 1959 called the verse the poem's rendering as haikai, with 人麻呂's poem also in mind, as 後藤 quotes him ^[5]. 清水 in 1976 set 其角's verse and the 丹後 song beside it as lines the poet knew, still took the verse as 陶淵明's turned round, and gave the condition: 夕刻、月と日が同時に見えるのは、毎月望の前後の一日か二日のみである, at dusk the moon and the sun are seen together only on a day or two either side of the full moon each month; and in 1979: しかし写実ではなく、印象に基づく蕩遥たる夕景を抽象的に構成した名作, but it is not realism: it is a masterpiece that composes, abstractly, a wide evening scene from an impression, the rape fields of the Yodo River where Buson was born ^[5]. Yamashita Kazumi 山下一海 in 1982 read the 丹後 song as the direct source and made the point about the 23rd ^[5]. 尾形仂 and 森田蘭, in the collected works of 1992, quoted 几董's reading of 1786 in their head note ^[5]. And 後藤 in 2005, surveying the Chinese poems in which the sun sets in the west and the moon rises in the east, found that most of them set the two as time passing, and read the verse that way, the moon rising as the sun goes down, rather than as two lights fixed in one picture ^[5]. The story that Buson made the verse looking down from 摩耶山, the mountain above Kobe, has no tie to it in the NDL Digital Collections' full text before a lawyers' magazine of 1959 ^[28]; Buson's own verse on 摩耶 is another, 菜の花や摩耶を下れば日のくるゝ, rapeseed flowers: coming down from Maya, the sun is setting, which 潁原 in 1925 printed from his posthumous papers, 遺稿 ^[2]. A science-teaching paper of 2020 carries the 摩耶 story from a popular edition of 2014, and gives the moon of the 23rd ^[29]. A study of 2019 reports the verse in a third-year primary-school reader, 東京書籍's 『新編 新しい国語』, in the unit 「俳句に親しもう」, beside 芭蕉's 閑かさや and 一茶's 雪とけて ^[30].

The verse in English

1928. In Spanish, first. The earliest known rendering of the verse in any language, in the Internet Archive's full text, is a Japanese writer's in Chile: Shizuo Kasai, in an essay on the haikai as impressionist poetry in the Santiago newspaper La Nación of 4 November 1928, signed October 1928, printed the verse in romaji with Flores de colzo... / Al levante, la luna. / Al poniente, el sol, colzo as printed for colza, rape, and the moon first ^[31].

1932. Miyamori Asatarō. What an expanse of rape-flowers, / With the moon east and the sun west!, with the great scarlet ball of fire, the grand round mirror of transparent silver and the swaying ocean of gold ^[32]. The round silver mirror is 佐藤's. In 1936 Gilberte Hla-Dorge, in a French study of the poet Chiyo-jo that cites Miyamori's anthology, gave Quelle étendue de colza, / Avec la lune à l'est, / Et le soleil à l'ouest !, his What an expanse in French ^[33].

1949 and 1950. R. H. Blyth. Flowers of rape; / The sun in the west, / The moon in the east., beside the Japanese with the moon first, and set against 人麻呂's poem: Buson's haiku is objective, descriptive, has no untidy edges ^[34]. In 1950: A field of rape-flowers: / The sun in the west, / The moon in the east., in the still bright west, the red sun; in the darkening east, the silver moon ^[35]. The order of the two lights is his, against the Japanese he prints.

1955. Kenneth Rexroth. Over the vast field of mustard flowers / The moon rises in the East, / The Sun sets in the West., the moon first, with two verbs, rises and sets, that the Japanese does not have ^[36]. The same year Hide Shohara, reviewing a Japanese study of the sound of verse in The Far Eastern Quarterly, glossed it The rape in bloom; the moon in the east; the sun in the west ^[37].

1958. Harold G. Henderson. Yellow rape in bloom: / in the west there is the sun— / in the east, the moon., with a word-for-word gloss that keeps the Japanese order, moon (as-for) east-in sun (as-for) west-in ^[38]. The same year the Nippon Gakujutsu Shinkōkai's Haikai and Haiku gave Rape-flowers— / Eastward the moon, / Westward the sun., as Faubion Bowers reprinted it in 1996 with his own note, it is late afternoon and both the setting sun and the rising moon are visible ^[39].

1994 to 2018. Robert Hass: Field of bright mustard, / the moon in the east, / the sun in the west. ^[40]. Makoto Ueda, 1998: mustard flowers / with the moon in the east / the sun in the west, with The scene described here was probably observed around the tenth of the lunar second month, when the moon rises before sunset, a month before the session ^[15]. Cheryl Crowley, 2007: rape-flowers— / the moon in the east / the sun in the west, with the full moon rises in the east as the sun sinks into the west, and 陶淵明's poem after it ^[41]. Sawa Yūki and Edith Shiffert, 2007, carry the heading of 1784 as the title: Spring View, Rape-seed flowers! / the moon in the east and / the sun in the west. ^[42]. Robert Aitken's rendering of 2011, in the publisher's text read here, gives with the moon to the west / and the sun to the east, against its own romaji three lines above ^[43]. Adam Kern, 2018: yellow mustardblooms! / moon to the east / sun to the west, with the note that the plant is referred to variously in English as rapeseed, oilseed rape and canola ^[44].

Today. A rendering should keep the moon first, as every Japanese witness does, and leave the moon's age and the hour unsaid, as the verse does.

A reading

The record first. The verse opened a session on 3 May 1774, when no moon stood in the evening sky; the poet who sat beside Buson that day gave it, twelve years later, a moon of about the tenth day and an hour of about four ^[2][5][6]. So the one witness who was there reads the scene as a scene, and does not read it as that evening's.

The readings next. The moon has been given four ages in print: the fifth or sixth day, by 碧梧桐 in 1934; about the tenth, by 几董 in 1786 and Ueda in 1998; full or round, by 佐藤 in 1904, after him 野口, and Miyamori and Crowley in English; and the 23rd, by 山下 in 1982 and the paper of 2020, which makes the scene impossible that night ^{[24][6][15][7][23][32][41][5][29]}. That the verse is a made scene was said by 佐藤 in 1904, granting that the sight itself is ordinary, and by 清水 in 1979 ^[7][5]. None of this is mine.

What I sign is this. A hokku opens a session, and it sets the season and the moment for everything that follows; this one sets a whole spring evening, the field between two lights, in the fewest words the language allows, and leaves out the time, the motion and the moon's age so that each reader supplies them, as each of the readers above did. I read it as made, not seen, and I do not think that lessens it. A scene that can be seen a day or two in a month, composed as an opening, holds the whole of the season's light at once; the verse's two phrases, matched and still, are what let it. Signed, 典.

Notes

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

• 菜の花, 菜乃花 or なの花. 1776: 菜乃花, with 乃 ^[3]. 1784: 菜の花 ^[4]. The screen of drafts, as 諸井 prints it: なの花 ^[8]. One of Eri's four hands for this design writes 乃, as the 1776 leaf does.
• は or ハ. 1776, 1784 and the screen: ハ, the katakana form of the particle in a printed or written hand of the period ^[3][4][8]. Typesets since 1925 write は ^[2].
• The heading. 1776: the sequence's 春興, spring pleasures, over twenty-six verses ^[3]. 1784: 春景, spring scene, over the verse alone ^[4]. 鳴雪 in 1900: the heading only means spring scenery ^[19].
• The order of sun and moon. Every Japanese witness read: moon first. In English, Blyth twice and Henderson put the sun first; Aitken's text gives the places reversed; Kasai's Spanish, Miyamori, Rexroth and the rest keep the moon first ^{[34][35][38][43][31][32][36]}.
• The moon on 3 May 1774. The age given in the Abstract and the record, about twenty-two days, rising near midnight, was computed for this history from the new moon of 11 April 1774 by Meeus's method, and agrees with 山下's point as 後藤 quotes it ^[5]; the date is Ueda's ^[15].
• The flower in English. Rape in Miyamori, Blyth, Shohara, Henderson, the NGS and Crowley; rape-seed in Sawa and Shiffert; mustard in Rexroth, Hass, Ueda and Kern, with Kern's note ^{[32][34][37][38][39][41][42][36][40][15][44]}. Before them, colza in Kasai's Spanish (printed colzo) and in Hla-Dorge's French ^[31][33].

Sources not seen

几董's 『宿の日記』 in manuscript (京大潁原 and 松宇); the 1930 typeset in 『校註俳文学大系』 8 beyond its search passage, which is not open to readers outside Japan.

The screen of Buson's verse drafts that 諸井康子 cites as 句稿屏風.

清水孝之's books of 1956, 1976, 1979 and 1983, 暉峻康隆's 日本古典文学大系 58 (1959), 山下一海's 『蕪村の世界』 (1982), 中村草田男's 蕪村集 (1943) and 尾形仂・森田蘭's 『蕪村全集』 1 (1992), quoted here from 後藤秋正 2005.

石川真弘, 「蕪村の俳諧—「菜の花や」の巻」 (2001); 中村真理, 「「菜の花や月は東に日は西に」考」 (『俳文学報』, 2023); 大橋賢一, 「中国古典詩における"菜の花"について」 (『語学文学』 46, 2008): no copy open to readers outside Japan was found.

玉城司's edition of 『蕪村句集』 (2014), the source the 2020 paper gives for the 摩耶 story.

The 1958 Nippon Gakujutsu Shinkōkai Haikai and Haiku itself, quoted here from Bowers; the print edition of Aitken's book.

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

References

1. 「与謝蕪村」, デジタル大辞泉, at kotobank. https://kotobank.jp/word/与謝蕪村-22116
2. 潁原退蔵 編, 『蕪村全集』, 有朋堂書店, 1925, p. 六〇 (scan 58), pp. 六〇–六一, and pp. 三四二–三四五 (scans 199–200), at the National Diet Library. https://dl.ndl.go.jp/pid/1018320/1/199
3. 几董 撰, 『続明烏』, 安永5 (1776), vol. 1, the copy at Waseda University Library (文庫31 A0513), PDF page 16. https://www.wul.waseda.ac.jp/kotenseki/html/bunko31/bunko31_a0513/index.html
4. 『蕪村句集』, 天明4 (1784), canvas 19, at the 国書データベース, 国文学研究資料館. https://kokusho.nijl.ac.jp/biblio/300106341/19
5. 後藤秋正, 「蕪村「菜の花や月は東に日は西に」と漢詩」, 『語学文学』 43, 北海道教育大学語学文学会, 2005, pp. 51–64, at the Hokkaido University of Education repository. https://hokkyodai.repo.nii.ac.jp/records/10647
6. 几董, 『附合てびき蔓』, 天明6 (1786) colophon, folios 十三–十四, canvas 19, at the 国書データベース, 国文学研究資料館, https://kokusho.nijl.ac.jp/biblio/300106595/19 ; and in 『日本俳書大系』 10, 1927, pp. 497–498, scans 241–242, at the National Diet Library. https://dl.ndl.go.jp/pid/1179396/1/241
7. 佐藤紅緑, 『蕪村俳句評釈』, 大学館, 1904, pp. 127–129, scans 68–69, at the National Diet Library. https://dl.ndl.go.jp/pid/875716/1/68
8. 諸井康子, 「「かな書の詩人」考—蕪村発句に及ぼした陶渕明・李白・杜甫・王維の影響」, 『山邊道』 18, 1974, pp. 41, 55–56, at the Tenri University repository. https://opac.tenri-u.ac.jp/repo/repository/metadata/2953/
9. 「菜の花」, デジタル大辞泉, and 世界大百科事典 under ナタネ, at kotobank. https://kotobank.jp/word/菜の花-589366
10. 「菜種」, 精選版 日本国語大辞典, the note on the word's history, at kotobank. https://kotobank.jp/word/菜種-588849
11. 『山家鳥虫歌』, 明和9 (1772), the copy at Kyoto University (大惣本), canvas 30, at the 国書データベース, 国文学研究資料館. https://kokusho.nijl.ac.jp/biblio/100417341/30
12. 『蕪村七部集』, 三教書院, 1911, 『其雪影』, pp. 4–5, scan 6, at the National Diet Library. https://dl.ndl.go.jp/pid/992999/1/6
13. 『日本俳書大系』 2 『蕉門俳諧前集』, 春秋社, 1934, 『曠野』 巻之四, p. 一六七, scan 107, at the National Diet Library. https://dl.ndl.go.jp/pid/1194199/1/107
14. 『校註俳文学大系』 8 随筆編, 1930 (snippet view, National Diet Library). https://dl.ndl.go.jp/pid/1226613
15. Makoto Ueda, The Path of Flowering Thorn: The Life and Poetry of Yosa Buson, 1998, p. 82 and Appendix B, p. 180, read on the house's shelf.
16. 潁原退蔵, 『蕪村』, 創元社, 1943, pp. 164–165, scan 91, at the National Diet Library. https://dl.ndl.go.jp/pid/1128419/1/91
17. 正岡子規, 『俳人蕪村』, in 『俳諧大要・俳人蕪村・俳句問答・俳句の四年間』, 籾山書店, 1913, pp. 72–73, scan 139, at the National Diet Library. https://dl.ndl.go.jp/pid/947487/1/139
18. 大野洒竹, 『与謝蕪村』, 1897, p. 一三三, scan 75, at the National Diet Library. https://dl.ndl.go.jp/pid/875927/1/75
19. 内藤鳴雪 等, 『蕪村句集講義』, 春之部 first printed 1900 (俳書堂), read in the four parts bound together, ほととぎす発行所, catalogued 1900–1911, p. 208, scan 107, at the National Diet Library. https://dl.ndl.go.jp/pid/875705/1/107
20. 寒川鼠骨 編, 『初学自修俳句案内』, 大学館, 1905, pp. 134–135, scan 77, at the National Diet Library. https://dl.ndl.go.jp/pid/875585/1/77
21. 内藤鳴雪, 『蕪村七部集俳句評釈』, 大学館, 1906, scan 76, at the National Diet Library. https://dl.ndl.go.jp/pid/875711/1/76
22. 芥川龍之介, 「明治文藝に就いて」, dated 大正十四年十月 (October 1925), in 『芥川龍之介全集』 別冊, 1928, pp. 360–362, scans 384 and 386, at the National Diet Library. https://dl.ndl.go.jp/pid/1240283/1/386
23. 野口米次郎, 『蕪村俳句選評』, 第一書房, 1926, pp. 14–17, scans 10–11, at the National Diet Library. https://dl.ndl.go.jp/pid/1019055/1/11
24. 河東碧梧桐, 『蕪村名句評釈』 (俳句評釈選集 2), 非凡閣, 1934, pp. 82–83, scan 47, and the preface, scans 3–4, at the National Diet Library. https://dl.ndl.go.jp/pid/1148254/1/47
25. 萩原朔太郎, 『郷愁の詩人与謝蕪村』, 小学館, 1946 printing, pp. 11–12, scans 8–9, and p. 32, scan 19, at the National Diet Library. https://dl.ndl.go.jp/pid/1128410/1/19
26. 陶淵明, 「雜詩」, the second of twelve, at Wikisource. https://zh.wikisource.org/wiki/雜詩_(陶淵明)
27. NDL Digital Collections, full-text search, all access levels, oldest first, for 素月出東嶺 with 菜の花 and for 白日淪西阿 with 蕪村, run 14 October 2026; the first pairing in a passage is 『酒のみのうた』, 1957. https://dl.ndl.go.jp/pid/1667123
28. 『法曹』 104, 1959 (snippet view, National Diet Library). https://dl.ndl.go.jp/pid/2805486
29. 大辻永, 「蕪村が菜の花畑に見たものは—日本版STEAM教育実践の試み—」, 日本科学教育学会年会論文集 44, 2020, pp. 447–450, at J-STAGE. https://doi.org/10.14935/jssep.44.0_447
30. 「小学校での『古典教育』─愛知県岡崎市の場合─」, 『人間と環境』 11, 2019, p. 34, at J-STAGE. https://www.jstage.jst.go.jp/article/uheok/11/0/11_31/_article/-char/ja/
31. Shizuo Kasai, "Sobre el haikai: poesía impresionista japonesa", signed Santiago de Chile, October 1928, La Nación (Santiago de Chile), 4 November 1928, in the section Hojeando libros y revistas, at the Internet Archive. https://archive.org/details/DiarioLaNacionSantiago_19281104/page/n3
32. Miyamori Asatarō, An Anthology of Haiku Ancient and Modern, Maruzen, 1932, no. 435, p. 463, read on the house's shelf.
33. Gilberte Hla-Dorge, Une poétesse japonaise au XVIIIe siècle: Kaga no Tchiyo-jo, G.-P. Maisonneuve, 1936, p. 23 and its note 1 (Cf. A. M. A., p. 5), at the Internet Archive. https://archive.org/details/IA41549904_0020/page/n24
34. R. H. Blyth, Haiku, vol. 1, 1949, p. 119, read on the house's shelf.
35. R. H. Blyth, Haiku, vol. 2, 1950, pp. 325–326, read on the house's shelf.
36. Kenneth Rexroth, One Hundred Poems from the Japanese, New Directions, 1955, in the publisher's EPUB of the 1955 text, read on the house's shelf.
37. Hide Shohara, review of Kanetune Kiyosuke and Miyauti Tamako, Igirisu no shi, Nihon no shi, Hokuseidō, 1953, The Far Eastern Quarterly 14 (4), August 1955, pp. 590–592, at p. 591, at the Internet Archive. https://archive.org/details/sim_journal-of-asian-studies_1955-08_14_4_0/page/n126
38. Harold G. Henderson, An Introduction to Haiku, Doubleday Anchor, 1958, p. 91, read on the house's shelf.
39. Faubion Bowers, ed., The Classic Tradition of Haiku, Dover, 1996, p. 58, the rendering signed NGS (Nippon Gakujutsu Shinkōkai, Haikai and Haiku, 1958), read on the house's shelf.
40. Robert Hass, The Essential Haiku, 1994, p. 93, read on the house's shelf.
41. Cheryl A. Crowley, Haikai Poet Yosa Buson and the Bashō Revival, Brill, 2007, p. 278, read on the house's shelf.
42. Yuki Sawa and Edith M. Shiffert, Haiku Master Buson, 2007 edition, p. 68, read on the house's shelf.
43. Robert Aitken, The River of Heaven, 2011, the publisher's EPUB text, read on the house's shelf.
44. Adam L. Kern, The Penguin Book of Haiku, Penguin, 2018, p. 202, and the note, p. 370, 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 菜の花や月は東に日は西に (na no hana ya tsuki wa higashi ni hi wa nishi ni)," Takase Studios, 2026, https://takase.com/library/philology/na-no-hana-ya-tsuki-wa-higashi-ni-hi-wa-nishi-ni.