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In loneliness, there is joy too, An autumn eve sabishisa no ureshiku mo ari aki no kure さびしさの うれしくも有 秋の暮 buson 蕪村

Japanese Scroll of Buson - In loneliness, there is joy too, An autumn eve (sabishisa no ureshiku mo ari aki no kure) — Calligraphy by Eri Takase
さびしさのうれしくも有秋の暮 Original Scroll by Master Calligrapher Eri Takase

Abstract

さびしさのうれしくも有秋の暮, loneliness, and there is gladness in it too; autumn dusk, is Buson's. Handa Ryōhei 半田良平's and Ebara Taizō 潁原退蔵's source tags give it to his posthumous 遺稿, not to the 蕪村句集 his pupil printed in 1784, after his death. Japanese readers from 1904 to 1934 disagree about whether its plainness is art or too blunt. Among the English books read for this study, the earliest known English is Blyth's, first printed in 1949; Yuki Sawa and Edith Shiffert (translations copyright 1978) and Adam Kern in 2018 render it again.

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Overview

The text. The scroll carries さびしさのうれしくも有秋の暮, with 有 in kanji where every edition read here prints あり. Otherwise the witnesses differ only in writing. The source itself, the 蕪村遺稿, writes さひしさの嬉敷もあり秋のくれ in its 1900 edition [1], and the lectures on it, the 講義, and 潁原's complete edition of 1925 print the same [2][3]: 嬉敷 is 嬉しく with 敷 written for its しく, ひ stands unvoiced as the older writing leaves it, and くれ is in kana. Masaoka Shiki's manuscript anthology copies it さひしさのうれしくもあり秋のくれ [4]. The Buson editions of 1902, 1906 (Iwamoto's), 1925 (the 三千句 and Handa's) and 1935 and the two commentaries of 1904 and 1926 print さびしさのうれしくもあり秋の暮; the 1906 aesthetics, the 1921 annotated edition and Blyth's 1952 volume write 淋しさのうれしくもあり秋の暮; 鳴雪's 1909 manual writes 淋しさの嬉しくもあり; the 1934 anthology of commentaries writes 秋のくれ. 有 and あり, 淋しさ and さびしさ, 嬉しく, 嬉敷 and うれしく, ひ and び, 暮 and くれ are one word each, and the calligrapher's 有 is a kanji the editions leave in kana. No witness read here varies a word. The meter is five, seven, five: さ・び・し・さ・の, う・れ・し・く・も・あ・り, あ・き・の・く・れ.

The sense. The readers read here agree on what the verse says, and the argument is about whether it should have said it. Hasegawa 長谷川 in 1921 gives the plain gloss and stops [5]. So, earlier, do the lectures on the verse's own book, a set the library dates 1905–1907: Takahama Kyoshi 高浜虚子, 秋の夕暮は淋しい、心細い。併し其うちに、嬉しい處もある, autumn dusk is lonely, forlorn; and yet within it there is something glad, and Kawahigashi Hekigotō 河東碧梧桐, who reads the の as が, 淋しさ其ものが又嬉敷くも思はれる, loneliness itself comes to seem glad as well [2]. Kōroku 紅緑 in 1904 says the plainness is the art, a natural music without chisel marks, and warns that a reader who looks for the poem in the words will find a hackneyed one; his Wang Wei is there to show what plain words can hold [6]. 中川 in 1906 raises the stakes to the sublime, an elation that arises after a blow and a pressing-down, and sets a line of Goethe's Faust beside it [7]. Meisetsu 鳴雪 in 1909 files it as lyric and subjective, a verse of feeling [8]. Noguchi 野口, in 1920 and again in 1926, makes it the mark of Buson's temperament, a desolation tasted with warmth and in these verses never driven to the bottom [9][10]. Hino 日野, in an essay of 1931, asks whether it is not subjective to excess, its paradox sung straight out, and sets beside it another Buson verse that uses the same word, whose loneliness, he says, cannot be spoken of in the same breath, and whose empathy he praises [11]. The 1934 anthology quotes it among six Buson verses, and the like, that press an old man's loneliness too openly, so that the true flavor does not come through [12]. Blyth in 1952 sets it beside Wordsworth's bird, too blest with anyone to pair, and his child, to whom solitude is blithe society, and finds Buson's feeling not so much deeper, as richer, a thing that belongs to maturity rather than to youth [13]; three years earlier he had set the verse in a chapter on Zen, as the freedom from seeking happiness [14]. The tradition, then, holds two positions: that the verse is beautiful because it is plain, and that it is a little too plain to be beautiful. Both are readings of the same も.

The words. さびしさ is the noun of さびしい, which デジタル大辞泉 enters first as 心が満たされず、物足りない気持ちである, a feeling that the heart is unfilled, that something is wanting, then as 仲間や相手になる人がいなくて心細い, forlorn for want of company, and as 人の気配がなくて、ひっそりとしている, hushed, with no sign of anyone; 日本国語大辞典 gives two senses, ① 満たされない気持 and ② 人の気配がなく心細い。ひっそりしている, and sends its ③ to さみしい, where it is 見ていてあさましい感じである, mean, shabby to look at [15]. さびしさの is loneliness, with の making it the subject of the clause that follows, as Hekigotō glossed it in the 講義 [2]. うれしくも有: うれしい is 物事が自分の望みどおりになって満足であり、喜ばしい, satisfied that things are as one wished; glad (デジタル大辞泉), the feeling 日本国語大辞典 calls 明るく晴れやかな快い気持, bright, clear and pleasant [16]; 有, あり, is there is; and the も is the whole poem: also, the gladness inside the loneliness and not instead of it. Hasegawa Reiyoshi's 1921 gloss is the plainest: 秋の暮は淋しいものであるが、その淋しさがまた嬉しい場合もあると云ふ意味の句, autumn dusk is a lonely thing, but the verse means there are times when that loneliness is also a joy [5]. 秋の暮 has two senses, and the dictionaries put them in different orders: デジタル大辞泉 first 秋の夕暮れ。秋の夕べ, an autumn evening, then 秋の末ごろ。晩秋, late autumn; 日本国語大辞典 first 秋の季節の終わり, the end of the autumn season, then 秋の日の夕暮れ, the dusk of an autumn day, each marked a season word of autumn, with Bashō's crow, かれ朶に烏のとまりけり秋の暮, under the dusk [17]. Blyth hears an autumn eve [13]; the 1934 critic, who reads it for an old man's loneliness, does not say which [12]. As words the line says: Loneliness, and there is gladness in it too: autumn dusk.

The verse in English. Among the English books read for this study, the earliest known rendering is Blyth's, in two wordings: There is joy too in the first volume of Haiku, 1949 [14], and There is a joy too in the autumn volume, 1952 [13], which the 1967 gift-book selection from his four volumes reprints [18]. Yuki Sawa and Edith Marcombe Shiffert, whose translations are copyrighted 1978 and 2007 and are read here in the 2007 edition, give Being alone / may also be pleasant— / autumn dusk [19], and Adam L. Kern in 2018 within loneliness / there is also happiness – / autumn dusk, noting that the verse runs against the grain of most gloom-and-doom autumn verses [20].

The historical record

1900. 蕪村遺稿, edited by Mizuochi Roseki 水落露石, 鹿田松雲堂. The verse's own source, printed from a brushed copy. The verse opens the 秋のくれ run, after もみぢ見や用意かしこき傘二本, and 人は何に化るかもしらじ秋のくれ, 訓讀の經をよすがや秋の暮, 一人來て一人をとふや秋の暮 and the rest follow it; it writes さひしさの嬉〔 〕もあり秋のくれ, where the glyph after 嬉 is cursive and agrees in shape with the 敷 the 講義 prints [1].

Before 1902. Masaoka Shiki 正岡子規, 俳家全集, a manuscript anthology the library attributes to him and dates only 明治年間, the Meiji era, and files under 1900; Shiki died in 1902. In the 秋のくれ run under Buson, between 訓讀の經をよすかや秋のくれ and 人は何に化るかもしらし秋のくれ: さひしさのうれしくもあり秋のくれ, marked (イ), as are the verses on either side of it [4].

1902. 山田三子, 蕪村俳句全集, a collected edition. The verse in the 秋の暮 run: 弓取に歌とはれけり秋のくれ, さびしさのうれしくもあり秋の暮, かぎりある命のひまや秋のくれ [21].

1904. Satō Kōroku, 蕪村俳句評釈, a commentary. The verse is printed with 一人來て一人を訪やふ秋のくれ, as the page prints it (the editions write 訪ふや), and the two are read together: この種の句の妙は全く天籟にして絕て斧鑿の痕なきにあり、然れども若し誤て其句字より之れを求むれば興會全く沒して、所謂月並調とならずんば則ち一つの平弱の句たるに終らん, the wonder of this kind of verse lies wholly in its natural music, without a trace of the chisel; but seek it wrongly through its letter and its life vanishes, and it ends as a hackneyed verse if not a merely feeble one. His three terms are the dictionaries' own. 天籟 is first the sound nature makes, the wind striking things, and then 詩歌が自然の調子にかない、すぐれていること, verse that is excellent because it keeps nature's own tune (日本国語大辞典) [22]. 斧鑿 is axe and chisel, and then 詩文などに技巧をこらすこと, labored craft in writing, which デジタル大辞泉 illustrates from Shiki's 俳人蕪村: 其句の巧妙にして斧鑿の痕を留めず [23]. 月並調 is 陳腐で卑俗な俳句や俳諧の調子, the stale, vulgar tone of haiku, Shiki's word for the conventional verse of the Tenpō years (1830–1844) and after (日本国語大辞典) [24]. Then he turns to a Chinese poet: 我王摩詰の七古を愛す、王の詩一種淡白の致あり, I love Wang Wei's old-style verse; his poetry has a certain plainness, and quotes a poem he says Wang sent to 五弟 from his retreat, 終南有茅屋　前對終南山　終年無客長閉關　終日無心長自閒　不妨飮酒復垂釣　君但能來相往還, in my rendering I have a thatched hut in the Zhongnan hills, facing the mountain; all year no visitors, the gate long shut; all day no cares, long at ease; nothing stops me drinking or dropping a line; if only you could come and go with me, and says of it, と小小の文字、字字生命あり、勿謂讀過淡々として、白湯を喫するが如しと、この水由來宇治第三橋に得たり, small words, and every word alive; do not say that read through it is flat, like drinking plain hot water: this water was drawn at the third bridge of Uji [6].

1906. 中川四明, 俳諧美学, an aesthetics of haikai. The verse as an instance of 嵩高, his word for the sublime, printed page 172: 要するに、嵩高は總て一たび打擊を受け、壓抑せられて而して後に生ずる昂揚怡悅の感覺なり, in sum, the sublime is always the feeling of elation and delight that arises after a blow has once been received and a pressing-down endured. Then the verse, printed 淋しさのうれしくもあり秋の暮, and ゲーテも同じ趣意の消息を洩して曰く, Goethe too let slip the same thought, and a line printed in German as „In jenem seligen Augenblick,ich fühle mich to klien, so gross." (Faust), where to klien stands for so klein: in that blessed moment I feel myself so small, so great [7]. デジタル大辞泉 and 日本国語大辞典 enter 嵩高 only as かさだか, bulky, high-handed, overblown, and the dictionaries at kotobank put the aesthetic category under 崇高: 日本国語大辞典 けだかく尊くて、驚異、畏敬、壮大、悲壮などの感じを起こさせるような美しさ, a beauty lofty and noble that rouses wonder, awe, grandeur or tragic feeling, and ブリタニカ国際大百科事典 hypsos; the sublime; das Erhabene. 中川's definition has the shape 改訂新版 世界大百科事典 gives Kant's sublime there, 一時せきとめられた生命力の奔出する感動, the stir of a life force held back for a moment and then bursting out [25].

1906. Iwamoto Shiseki 岩本梓石, 蕪村俳句全集 標註, an annotated edition. The same run, with notes on the neighbors and none on this verse [26].

1905–1907. 蕪村遺稿講義, 秋之部, the lectures of Naitō Meisetsu 内藤鳴雪, Kyoshi, Hekigotō and others on the 遺稿, 俳書堂, pages 163–164, from a set the library dates 明治38–40 and files under 1907. The verse as the 遺稿 writes it, さひしさの嬉敷もあり秋のくれ, in the 遺稿's order, with the two readings quoted above [2].

1909. Naitō Meisetsu, 俳句作法, a manual. 淋しさの嬉しくもあり秋の暮, twice: among the 抒情の句, the lyric verses, and among those 主觀に屬するもの, belonging to the subjective [8]. 抒情 is 自分の感情を豊かに、また、うったえかけるように述べあらわすこと, setting out one's own feeling richly and movingly (日本国語大辞典) [27]; 主観 is the one who experiences, knows and feels, set against 客観, and in its second sense 自分ひとりの考え方, one's own view alone (日本国語大辞典) [28].

1920. Noguchi Yonejirō, 日本の美術, the essay 奉與謝蕪村書, a letter to Buson, page 225. 與謝蕪村君、君の寂寥味は芭蕉のそれとは異つて居る, Yosa Buson, your taste of loneliness differs from Bashō's; with this verse first among four, 其處に寂寞をどん底にまで極めずに人情味の餘裕を保つて居る, you keep there the ease of human feeling, never taking desolation to its very bottom, and 君の京都式情調は禪僧的寂寞から巧に逃れて居る, your Kyoto temper deftly escapes the Zen monk's desolation [9]. His two words for it are near neighbors in the dictionaries: 寂寥 is 心が満ち足りず、もの寂しいこと, a heart not filled, a lonely feeling, and ひっそりとしてもの寂しいさま, hushed and lonely (デジタル大辞泉); 寂寞 is ひっそりとして寂しいさま and 心が満たされずにもの寂しいさま, the same two senses (デジタル大辞泉), and 日本国語大辞典 gives 寂寞 as another word for 寂寥 [29].

1921. Hasegawa Reiyoshi, 蕪村俳句全集 校註解釈, an annotated edition. The gloss quoted above [5].

1925. 蕪村三千句, and Handa Ryōhei, 蕪村俳句全集 季題別. The 三千句 prints the 秋の暮 run: 我がてに我をまねくや秋の暮, 門を出れば我も行く人秋の暮, 弓取に歌とはれけり秋のくれ, 淋し身に杖わすれたり秋の暮, 秋のくれ辻の地藏に油さす, さびしさのうれしくもあり秋の暮, 人は何に化るかもしらじ秋の暮, 訓讀の經をよすがや秋のくれ, 一人來て一人を訪ふや秋の暮, かぎりある命のひまや秋の暮, 門を出て故人にあひぬ秋の暮, 燈ともせといひつゝ出るや秋の暮, 鳥さしの西へ過けり秋の暮 and 秋のくれ佛に化る狸かな. Handa prints the same run with his source tags, 右八句、句集 before this verse and 右八句、遺稿 after the eighth from it [30]. 潁原退蔵's 蕪村全集 of the same year prints it さひしさの嬉敷もあり秋のくれ and tags it 遺稿 alone, where the two verses before it are tagged 句集 [3].

1926. Noguchi Yonejirō, 蕪村俳句選評, a poet's selection with comments. The 1920 judgment again: the verse among those that show that Buson never drives desolation to its bottom but tastes it with a human warmth that leaves room; then, of Buson in general, that his Kyoto sensibility cannot be reconciled with the Zen monk's desolation [10].

1931. Hino Sōjō 日野草城, an essay on Buson's verse, printed in the magazine かつらぎ, volume 3, number 1, January 1931, by its credit line, and collected in his 展望車, 1940. Of this verse: 主觀的な餘りに主觀的な句ではないか, is it not a subjective verse, subjective to excess?, in which 人間のこころもちの逆說的な一面が率直に詠はれてある, one paradoxical side of the human heart is sung straight out. Then a second Buson verse, さびしさに花咲きぬめり山櫻: 同じく主觀詞さびしさを用ふるとはいへ、この句のさびしさに至つては前句のさびしさと同日に談ずる譯にはゆかぬ, though it uses the same subjective word さびしさ, its loneliness cannot be spoken of in the same breath as the loneliness of the verse before; the mountain cherry blooming unseen in the hush around it, and 感情移入の深さと確かさとには驚くの他はない, the depth and sureness of the empathy can only astonish [11]. 感情移入 is the dictionaries' word for projecting one's own feeling into a work of art or a thing of nature and fusing with it, 芸術作品または自然の物象に自己の感情や精神を投射して、その対象に共感し融合する意識作用 (日本国語大辞典), the aesthetics of Lipps's Einfühlung [31].

1934. 俳句評釈選集, an anthology of commentaries, the 蕪村名句評釈. The verse quoted among six, 去年より又た淋しいぞ秋の暮, 父母のことのみ思ふ秋のくれ, さびし身に杖わすれたり秋の暮, さびしさのうれしくもあり秋のくれ, かぎりある命のひまや秋のくれ and 木曾路行ていざ年よらん秋ひとり, closed with など, and the like, and the judgment that follows them, 老懷の寂寞を、矢つぎ早やに訴へてゐるが、少々露骨に過ぎて本統の老懷味が迫らないやうである, that they press an old man's loneliness on us in quick succession, a little too openly, so that the true flavor of age does not come through [12]. 老懐 is 老人の心, an old man's heart (日本国語大辞典) [32].

1935. Handa Ryōhei, 蕪村俳句全集 季題別年代附. The 1925 arrangement and tags reprinted [33].

The dictionaries today. At 与謝蕪村 on kotobank, ブリタニカ国際大百科事典 and the 日本人名大辞典+Plus give his death as the twenty-fifth day of the twelfth month of Tenmei 3, which ブリタニカ writes 天明3(1783).12.25; デジタル大辞泉 and the 日本人名大辞典+Plus give his years as 1716–1784, while 日本国語大辞典 and the 旺文社日本史事典 on the same page write 1716–83. None of them mentions the verse [34].

The attribution. Buson's, at every witness read here, and in every edition of Buson read here. 潁原's complete edition of 1925 tags it 遺稿 [3], and Handa Ryōhei's seasonal edition of 1925 arranges the 秋の暮 verses in two groups, closes the first eight with 右八句、句集, opens the second with this verse, and closes those eight with 右八句、遺稿 [30]: by both editors' tags it is from the posthumous 遺稿, published in 1801 [35], not from the 蕪村句集, which 日本国語大辞典 describes as 868 verses arranged by season by his pupil Kitō 几董 and printed in 天明四年 (1784) for the first anniversary of his death [36]. The 遺稿 itself, in its 1900 edition, opens its 秋のくれ run with this verse [1]. The 蕪村三千句 of the same year prints the verses from this one on in the same order, without the tags [30]. No witness read here dates the composition. Among the English books read for this study, the earliest known English is Blyth's, from 1949 [14][13], and Sawa and Shiffert and Kern follow [19][20].

What is not a source. Wang Wei's poem to his friend, which Kōroku quotes at length, is the commentator's parallel for a kind of plainness, not a source Buson names [6]. Goethe's Faust, in 中川, is likewise the critic's instrument [7]. The other 秋の暮 verses of the run, 門を出れば我も行く人, 淋し身に杖わすれたり, かぎりある命のひまや, 一人來て一人を訪ふや, are the verse's neighbors in Buson's editors' ordering [30], and the six verses the 1934 critic quotes together are his own set [12]; they are its company, not its kin. Hino's 山櫻 verse is the contrast he sets against it [11]. None of these is a source for the verse.

The verse in English

1949. R. H. Blyth, Haiku, volume 1, Eastern Culture, Hokuseido Press, Tokyo, in the chapter ZEN, page 229, read in the twentieth printing, 1971. After a passage of Spengler's on a freedom of outlook that ranks nothing above anything else: We must have freedom from the idea, and freedom from the fact of seeking for happiness, seeking for beauty or significance. So Buson says, and the verse in kana, さびしさのうれしくもあり秋の暮, then An autumn eve; / There is joy too, / In loneliness. The season word comes first here too [14].

1952. R. H. Blyth, Haiku, volume 3, Summer–Autumn, Hokuseido Press, Tokyo, under AUTUMN, THE SEASON, pages 345–346. After a crow verse signed 几湫, Kishû, 秋の暮烏もなかで通りけり, the verse printed 淋しさのうれしくもあり秋の暮, then An autumn eve; / There is a joy too, / In loneliness, and: Sometimes, rarely, we feel like the bird, / Too blest with anyone to pair, / or like the child: / This happy Creature of herself / Is all-sufficient; solitude to her / Is blithe society. But this feeling of Buson's is not so much deeper, as richer than what Wordsworth is speaking of. It is something that belongs to maturity rather than to youth. His notes name the two quotations as Wordsworth's The Green Linnet and Characteristics of a Child Three Years Old. Blyth puts the season word first, where the Japanese puts it last [13].

1967. Dorothy Price, ed., Silent Flowers: A Collection of Japanese Haiku, Hallmark Editions, selected from Blyth's four volumes, unpaginated, in the autumn section. The 1952 wording, An autumn eve; / There is a joy too, / In loneliness., under Buson's name [18].

1978, read in the edition of 2007. Yuki Sawa and Edith Marcombe Shiffert, Haiku Master Buson, White Pine Press, page 120. Being alone / may also be pleasant— / autumn dusk, with the romaji under it, between the Jizō verse and the sutra verse of the same run [19].

2018. Adam L. Kern, The Penguin Book of Haiku, Penguin Classics, page 148, and the commentary, page 329. within loneliness / there is also happiness – / autumn dusk, and in the commentary: This verse runs against the grain of most gloom-and-doom autumn verses [20].

What the renderings share. Every rendering read here keeps the も, the too or also, because the verse is nothing without it: Blyth's There is joy too and There is a joy too, Sawa and Shiffert's may also be pleasant, Kern's there is also happiness [14][13][19][20]. Blyth puts the season word first; Sawa and Shiffert and Kern keep it last, where the verse has it.

A reading

I take Kōroku's side and Hino's warning together. The verse says a plain thing, and the plainness is the point: there is no image, no scene, only a feeling named and then qualified by one syllable, も, and then the hour. Read for its letter it is nothing, as 紅緑 says, and read as a statement it is a little too open, as the 1934 critic and 日野 say; read as a moment (I take 秋の暮 as dusk, with Blyth), the instant at dusk when the loneliness one has been dreading turns out to be welcome, it is exact.

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Japanese Scrolls by Master Calligrapher Eri Takase

Japanese Scroll of Buson - In loneliness, there is joy too, An autumn eve (sabishisa no ureshiku mo ari aki no kure) in a block font by Master Japanese Calligrapher Eri Takase
さびしさのうれしくも有秋の暮VB5CBlock
Japanese Scroll of Buson - In loneliness, there is joy too, An autumn eve (sabishisa no ureshiku mo ari aki no kure) in a cursive font by Master Japanese Calligrapher Eri Takase
さびしさのうれしくも有秋の暮VC5BCursive
Japanese Scroll of Buson - In loneliness, there is joy too, An autumn eve (sabishisa no ureshiku mo ari aki no kure) in Master Japanese Calligrapher Eri Takase's own style (Eri's Choice)
さびしさのうれしくも有秋の暮VD5BEri's Choice
Japanese Scroll of Buson - In loneliness, there is joy too, An autumn eve (sabishisa no ureshiku mo ari aki no kure) in a semi-cursive font by Master Japanese Calligrapher Eri Takase
さびしさのうれしくも有秋の暮VS4CSemi-Cursive

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ホトトギス, 1905, National Diet Library pid 7972219. The library's full-text search finds さひしさの嬉敷 in this issue, which is on its restricted service and not delivered through the public viewer; it would show whether the lectures first ran in the magazine, and in what words.

蕪村遺稿講義, 俳書堂, 1905. National Diet Library Search lists imprints of 1905 with no digital copy; the lectures cited are the 秋之部 of the set the library files under 1907.

蕪村遺稿, 享和元 (1801), the first print, recorded at the 国書データベース with no image [35]; the edition cited is the 1900 one.

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

References

  1. 水落露石 編『蕪村遺稿』, 鹿田松雲堂, 1900. National Diet Library pid 875700, scan 27. https://dl.ndl.go.jp/pid/875700/1/27
  2. 内藤鳴雪 等『蕪村遺稿講義』秋之部, 俳書堂, in a set dated 明38-40 (1905–1907), filed under 1907, printed pages 163–164. National Diet Library pid 875703, scans 85–86. https://dl.ndl.go.jp/pid/875703/1/85
  3. 潁原退蔵 編『蕪村全集』, 1925, printed page 140. National Diet Library pid 1018320, scan 98. https://dl.ndl.go.jp/pid/1018320/1/98
  4. 正岡子規 編『俳家全集』, manuscript, 明治年間 (the National Diet Library's date; filed under 1900). National Diet Library pid 2546172, scan 119. https://dl.ndl.go.jp/pid/2546172/1/119
  5. 長谷川零余子 編『蕪村俳句全集 校註解釈』, 1921. National Diet Library pid 968346, scan 59. https://dl.ndl.go.jp/pid/968346/1/59
  6. 佐藤紅緑『蕪村俳句評釈』, 1904, printed pages 188–189. National Diet Library pid 875716, scan 99. https://dl.ndl.go.jp/pid/875716/1/99
  7. 中川四明『俳諧美学 平言俗語』, 1906, printed page 172. National Diet Library pid 875470, scan 98. https://dl.ndl.go.jp/pid/875470/1/98
  8. 内藤鳴雪『俳句作法』, 1909. National Diet Library pid 875595, komas 74, 124. https://dl.ndl.go.jp/pid/875595/1/74
  9. 野口米次郎『日本の美術』, 1920, printed page 225. National Diet Library pid 981161, scan 129. https://dl.ndl.go.jp/pid/981161/1/129
  10. 野口米次郎『蕪村俳句選評』, 1926. National Diet Library pid 1019055, scan 28. https://dl.ndl.go.jp/pid/1019055/1/28
  11. 日野草城『展望車』, 1940; the essay first printed in 「かつらぎ」第三卷第一號, 昭和六年一月 (1931), by its credit line. National Diet Library pid 1114982, komas 116–117. https://dl.ndl.go.jp/pid/1114982/1/116
  12. 『俳句評釈選集』, 蕪村名句評釈, 1934. National Diet Library pid 1148254, scan 105. https://dl.ndl.go.jp/pid/1148254/1/105
  13. R. H. Blyth, Haiku, vol. 3, Summer–Autumn, Hokuseido Press, Tokyo, 1952, pp. 345–346.
  14. R. H. Blyth, Haiku, vol. 1, Eastern Culture, Hokuseido Press, Tokyo, 1949 (twentieth printing, 1971), p. 229.
  15. 「寂しい」, デジタル大辞泉 and 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/寂しい-511690
  16. 「嬉しい」, デジタル大辞泉 and 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/嬉しい-442277
  17. 「秋の暮れ」, デジタル大辞泉 and 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/秋の暮れ-423153
  18. Dorothy Price, ed., Silent Flowers: A Collection of Japanese Haiku, Hallmark Editions, 1967, selected from R. H. Blyth, Haiku, vols. 1–4; unpaginated, autumn section. https://archive.org/details/silentflowerscol00pric
  19. Yuki Sawa and Edith Marcombe Shiffert, Haiku Master Buson, White Pine Press, Buffalo, 2007 (translations copyright 1978, 2007), p. 120. Internet Archive haikumasterbuson0000yosa (lending). https://archive.org/details/haikumasterbuson0000yosa
  20. Adam L. Kern, ed. and tr., The Penguin Book of Haiku, Penguin Classics, London, 2018, p. 148; commentary p. 329.
  21. 山田三子 編『蕪村俳句全集』, 1902. National Diet Library pid 875715, scan 72. https://dl.ndl.go.jp/pid/875715/1/72
  22. 「天籟」, デジタル大辞泉 and 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/天籟-579055
  23. 「斧鑿」, デジタル大辞泉 and 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/斧鑿-617851
  24. 「月並調」, デジタル大辞泉 and 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/月並調-571140
  25. 「嵩高」 and 「崇高」, デジタル大辞泉, 精選版 日本国語大辞典, ブリタニカ国際大百科事典 小項目事典 and 改訂新版 世界大百科事典, at kotobank. https://kotobank.jp/word/嵩高-461676 · https://kotobank.jp/word/崇高-83268
  26. 岩本梓石 編『蕪村俳句全集 標註』, 1906. National Diet Library pid 875714, scan 72. https://dl.ndl.go.jp/pid/875714/1/72
  27. 「抒情」, 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/抒情-2831332
  28. 「主観」, デジタル大辞泉 and 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/主観-77561
  29. 「寂寥」 and 「寂寞」, デジタル大辞泉 and 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/寂寥-547519 · https://kotobank.jp/word/寂寞-524964
  30. 『蕪村三千句』, 1925, printed page 88. National Diet Library pid 924926, scan 47; 半田良平 編『蕪村俳句全集 季題別』, 1925, printed page 48, National Diet Library pid 964212, scan 31. https://dl.ndl.go.jp/pid/924926/1/47
  31. 「感情移入」, デジタル大辞泉, 精選版 日本国語大辞典, 日本大百科全書(ニッポニカ), 改訂新版 世界大百科事典 and ブリタニカ国際大百科事典 小項目事典, at kotobank. https://kotobank.jp/word/感情移入-48902
  32. 「老懐」, 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/老懐-2093441
  33. 半田良平 編『蕪村俳句全集 季題別年代附』, 1935. National Diet Library pid 1090303, scan 29. https://dl.ndl.go.jp/pid/1090303/1/29
  34. 「与謝蕪村」, ブリタニカ国際大百科事典 小項目事典, デジタル大辞泉 and デジタル版 日本人名大辞典+Plus, at kotobank. https://kotobank.jp/word/与謝蕪村-22116
  35. 「蕪村遺稿」, 国書データベース (National Institute of Japanese Literature), work 482791, 享和元 (1801). https://kokusho.nijl.ac.jp/work/482791
  36. 「蕪村句集」, 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/蕪村句集-2079879

Authors

Tim Jackowski (Systems Architect, Takase Studios, LLC) · 典 Ten (Anthropic Claude Fable 5.1, Sonnet 5 and Opus 5.5, Takase Studios, LLC)

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

Checked · Grok 4.6 (xAI), 2026-09-05, citations · GPT-6 Astra (OpenAI), 2026-09-05, citations · Claude Sonnet (Anthropic), 2026-09-14, citations — every claim tested at its address; one page citation corrected — Blyth's adjacent page-number token differs from the account's cited pages

Research depth: step 4 of our 10-step ladder, sources traced · October 2026

Cite as: Tim Jackowski and Ten, "Philology of さびしさのうれしくも有秋の暮 (sabishisa no ureshiku mo ari aki no kure)," Takase Studios, 2026, https://takase.com/library/philology/sabishisa-no-ureshiku-mo-ari-aki-no-kure.