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五月雨をあつめて早し最上川 samidare o atsumete hayashi mogamigawa Bashō - Gathering the early-summer rains, swift: the Mogami River

五月雨をあつめて早し最上川 (samidare o atsumete hayashi mogamigawa) is Bashō's verse on the Mogami River, from his journey of 1689. At Ōishida it opened a sequence of linked verse, and there it said cool, not swift, in the copies read. A poem by Kenkō has been read behind it since an old commentary, but Bashō named none.

Japanese Scroll of Bashō - Gathering the early-summer rains, swift: the Mogami River (samidare o atsumete hayashi mogamigawa) — Calligraphy by Eri Takase
Bashō - Gathering the early-summer rains, swift: the Mogami River五月雨をあつめて早し最上川samidare o atsumete hayashi mogamigawa

Original art by Master Calligrapher Eri Takase

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Abstract

五月雨をあつめて早し最上川, gathering the early-summer rains, swift: the Mogami River, is the hokku Matsuo Bashō 松尾芭蕉 set after the Mogami River passage of his travel journal, 『おくのほそ道』, from the journey of 1689 [1][2][3]. At 大石田, the river port upstream where he waited to go down the river, the same verse had opened a kasen, a sequence of thirty-six linked verses, at the house of 高野一栄, and there its middle line read 涼し, cool: so in the surviving print of the anthology 『雪丸げ』, in the kasen as 『一葉集』 sets it, and in the kasen in Bashō's own hand that the town of 大石田 describes [4][5][6][7]; one eighteenth-century report, 『芭蕉句選年考』, says the opposite of the print, giving 早し even in 『雪丸げ』 [8]. The commentators read here take 涼し as the first form and disagree on where 早し was made, at 大石田, after the rapids or in the writing of the journal [9][10][11][12]; and since a commentary that 正岡子規 quotes in 1895, a poem of 兼好's on the Mogami in the fifth-month rains has been read behind the verse, printed by the commentators with 雨雲, where the poem's own two collections read 天雲 [13][14][15]. I read 早し as the journal's word for the river, and 涼し as the guest's word for the house.

Overview

The text. The verse as brushed here, 五月雨をあつめて早し最上川, keeps the spelling of the first print of 『おくのほそ道』, published in Kyoto in 1702 by 井筒屋庄兵衛 after his death, and of the reproduction of that print made in 1932 [1][3][2]. In the print it stands on its own, with no preface, in the column after the passage on the river, which ends 水みなぎつて舟あやうし, the water was swollen and the boat in danger; 早 is written in kanji and あつめて in kana [1]. 精選版 日本国語大辞典 quotes it in this form, 五月雨をあつめて早し最上川, as an example of はやい, swift [16].

The sense. 五月雨, samidare, is the long rain of the fifth month of the old calendar: 日国 defines it 陰暦五月頃に降りつづく長雨。また、その時期。つゆ。梅雨。さつきあめ。, the long rain that goes on falling around the fifth lunar month; also, that season; the rainy season; the fifth-month rain, a season word for summer, and gives this verse as its second example, after a poem of 紀友則's in the 古今和歌集 [17]. あつめて is gathering: the river gathers the rain. 早し is swift: 日国 enters はやい, classical はやし, in its sense 動く速度が大である, moving at great speed, with a 万葉集 poem on the swift shallows of the 婦負川 and then this verse [16]. 最上川 is the Mogami River, in what is now Yamagata; 日国 calls it 日本三急流の一つ, one of the three swift rivers of Japan, and gives this verse as its first example of the name [18]. So the line says: gathering the early-summer rains, swift, the Mogami River.

The words. The verse turns on one word, and the other word it once had. 涼し is cool: 日国's first sense is 暑苦しくなくて気持がよい。ほどよく冷ややかである。, not stifling, and pleasant; agreeably cool, also a season word for summer; its note on the word's history says that in the Heian period, 中古, it mostly meant 暑さが去った後の快い低温, the pleasant coolness after the heat has gone [19]. デジタル大辞泉 gives, as its example of the sense, another verse of Bashō's, 此あたり目に見ゆる物はみな涼し, everything the eye sees here is cool [19]. 志田義秀's commentary, printed in 1948, two years after his death, says that with 涼し the line had two season words, 五月雨 and 涼し, and 涼し ruled the verse; in the revision 五月雨 is the season word [11][20]. 大石田, where the kasen was made, was, 日国 says, 江戸時代、最上川最大の船着場, the largest landing on the Mogami in the Edo period, where the shogunate kept its office for river boats [21]. A kasen, デジタル大辞泉 says, is a form of linked verse in thirty-six verses, long and short in turn, which became the main form of linked verse once Bashō's style was established [22].

The text in English. The earliest rendering on the house's shelf is Miyamori Asatarō's of 1932, Collecting all the rains of May, / How swiftly flows the Mogami!, printed with two others he does not date [23]. The cool version reaches English, on the shelf, in R. H. Blyth's Haiku of 1952 [24]. The renderings since differ chiefly in what to call the rain: May, June, summer, the wet season, monsoon. They are taken in order below.

The historical record

1689. Ōishida and the river. In the journal, Bashō and his companion 曾良 wait at 大石田 for fair weather to go down the river. The old seeds of haikai, the local poets tell him, were sown there, but they cannot tell the old way from the new and have no one to guide them; so he leaves them a sequence, わりなき一卷殘しぬ, I could not refuse, and left them one roll of verse [1][25]. Then the river: its source in Michinoku, its upper course in Yamagata, its rapids called the Go Stones and the Falcon, the rice boats, the White Thread Falls, the Hermit's Hall on the bank, and the swollen water; and the verse [1]. The kasen is the one the journal names. Yamagata Prefecture's register of cultural properties, which lists it as 五月雨歌仙 芭蕉筆, the samidare kasen in Bashō's hand, says it was made at 高野一栄's house at 大石田 on the twenty-ninth day of the fifth month of 元禄2 (1689) by four poets, Bashō, 曾良, 一栄 and 高桑川水, nine verses each; that Bashō wrote the whole of it out the next day and closed it 最上川のほとり一栄子宅におゐて興行芭蕉庵桃青書元禄二年仲夏末, held at Ichiei's house on the bank of the Mogami; written by 芭蕉庵桃青, at the end of midsummer, 元禄2, midsummer, 仲夏, being the old calendar's fifth month, the middle of its three months of summer; that it is the only kasen of the journey that survives in Bashō's hand; and that it is privately owned, deposited at the town's museum of history and folklore, and not shown [7]. The town's own page gives its first verse: さみだれをあつめてすゞしもがみ川 芭蕉 [6]. The kasen manuscript was not seen for this history.

Cool or swift: the witnesses. From the witnesses read for this history, in order:

So the kasen opened with 涼し in every witness opened for this history, and one eighteenth-century report gives 早し even there. Which print 句選年考's compiler saw, and whether the first print of 1737 read 涼し or 早し, is not settled here.

The name of the host. The 『雪丸げ』 print writes 高野平左衞門, and so do 籾山 and 句選年考 [4][26][8]. 潁原, in 1947, says 平右衞 is right, from 曾良's 書留, 大石田高野平右衞門方ニテ: a boat-inn keeper at 大石田 whose haikai name was 一栄 [28]. 志田's 1948 commentary gives the 書留's preface with 平右衞門 and notes 『雪丸け』's 平左衞門 [11]. 曾良's diary of the journey, as 東海林隆 quotes it in 1976, names 大石田一栄高野平右エ門 among the poets who came to Bashō at 尾花沢, and a 宗門御改帳 of 大石田 for 元禄五年 (1692), which he prints, lists a 平右エ門 aged fifty-seven [30]. The 書留 and the diary themselves were not read.

Which came first. 籾山 in 1916, 樋口, 大藪, 潁原 and the 1948 commentary all take 涼し as the first form and 早し as the revision [26][9][25][10][11]. 句選年考 is the one dissent read: for it the 大石田 kasen and 『雪丸け』 have 早し, and the 眞蹟 with 凉し is perhaps 奧の細道再案, a later draft [8]. 樋口功, in 1925, set the 脇, the second verse, against both forms: 涼しと早しとは句趣に著るき相異ありて、脇句(前出)は涼しには相應せるも、早しの濁流滔々たる水勢には聊か適はざるがごとし。岸に螢をつなぐの前句は涼しならざるべからず。, cool and swift differ sharply in feeling; the second verse fits cool, but hardly the swift, muddy, surging flood. The verse before the boat post that moors the fireflies must be cool; so the hokku alone was revised, and the second verse kept the answer it had made to the first [9]. None of the commentators read for this history weighs 句選年考's report on 『雪丸け』 against the print.

Where 早し was made. On this the commentators part. 樋口, in 1925, thought the hokku itself perhaps an 大石田 verse, set after the river passage because 句と記事との前後錯綜せる例は芭蕉の紀行には多し, in Bashō's travel writing verse and prose are often out of order; and since Bashō climbed 羽黒山 as soon as he came down the river, he had no time for a kasen on the way [9]. 潁原, in 1944, wrote: この句は大石田でよんだのであるが、これも最初は中七文字が「集めて涼し」であつた。恐らく大石田では、兩岸の靑葉の色を映して湛へた川水を眺めて、たゞ涼しいとだけ感じたのであらう。しかし實際川を下つて急流のさまを目のあたりに見ると、「涼し」では物足りなかつた。, this verse was made at 大石田, and here too the middle line was at first 「集めて涼し」. At 大石田, I think, looking at the full river mirroring the green of both banks, he felt only that it was cool. But when he went down the river and saw the rapids before his eyes, 涼し was not enough [10]. 志田's 1948 commentary reads the same way, and adds the host: その時「集めて涼し」としたのは、亭主に對する挨拶の心が手傳つてゐたのかも知れない。, that he wrote 「集めて涼し」 then may have been helped by a wish to greet his host; then, after shooting the rapids from 大石田, he found that 「速し」, one word changed, gave the river its character [11]. The commentary writes 速し, not 早し, at that point, where its heading prints 早し [11]. 大藪, in 1933, says only 「涼しが」初案で、後に「早し」と改めたのであらう, the closing bracket so printed, 涼し was the first draft, changed later to 早し [25]. Whose words the 1948 pages are, 志田's or his unnamed editor's, the book does not say [11]. Later scholarship adds a third place, the desk. 松尾真知子, in 1989, cites the Shōgakukan edition of Bashō's verse, 「早し」の改作は、元禄五、六年の『おくのほそ道』執筆時に、文章に呼応させたものだ, the change to 早し was made when he wrote the journal, in 1692 or 1693, to answer its prose, and 大内初夫, for whom Bashō made it thinking of the river's old poetic character and setting his own passage down the river inside it [31]. 宮脇真彦, in 1995, has Bashō change the greeting to 一栄 as he wrote the journal, 最上川の本意「早川」の把握にそって, following the river's established character as a swift river, so that it fits the passage on going down it [12].

The English scholarship took up the greeting. Hiroaki Sato, in 1983, set the kasen's opening in English as naturally began with Bashō praising the host and the host deprecating himself, and in 1996 wrote that Bashō's aisatsu moved from a human being to a river when he changed "cool" to "swift" [32][33]. Haruo Shirane, in 1998, read the 脇 the same way, 一栄 as the boat post restraining the firefly, his guest, and the journal's version as no longer a greeting to a host, although it can still be interpreted as a salute to the spirit of the river, giving the old poetic place a new essence from experience [34]. Steven Carter, in 2011, gives one commentary's reading of refreshing, Bashō's gratitude to a host who offered respite from life on the road, and calls the change one made in order to suit the narrative purposes of Oku no hosomichi [35].

The poem behind it. In 1895 正岡子規 quoted a commentary on Bashō's verse, 『句解大成』, which he dates in the same book to 文政九年 (1826), and which a chronology of haikai of 1901 lists as 何丸's [13][36]: 「愚考兼好法師 最上川はやくぞまさる雨雲の のぼれば下る五月雨の頃 の意を取給ふなり」, I think he took the sense of 兼好法師's poem, 最上川はやくぞまさる雨雲ののぼれば下る五月雨の頃; and wrote that the verse, 換骨奪胎, changing the bones and taking the womb, the old phrase for remaking a borrowed poem, outdid it: 兼好の作亦此一句に及ばず, 兼好's poem does not come up to this one verse [13]. 樋口 in 1925, 大藪 in 1933 and the 1948 commentary repeat the poem, all with 雨雲 [9][25][11]. The poem's own collections, as the 新校群書類従 sets them, read 天雲, not 雨雲: in 『兼好法師集』, under the topic 五月雨, もがみ河はやくぞまさる天雲ののぼればくだる五月雨のころ, tagged 藤葉, and in the anthology that tag names, 『藤葉和歌集』, under 兼好法師, the same poem, with 天雲, its first word written もがみ川 [14][15]. Its words, はやくぞまさる, grows ever swifter, and のぼればくだる, going up, it comes down, set the swift river beside the old one: のぼればくだる is the phrase of an anonymous poem of the 古今和歌集, on the rice boats of the Mogami, which Hiroaki Sato quotes, and which Keene and Shirane connect with the rice boats of Bashō's prose [33][37][38]. 尾形仂, in a commentary of 1985, took that 古今 poem as the 本歌, the poem 兼好's builds on, as 松尾真知子 reports [31]. Bashō does not name 兼好, and no witness read for this history says he had the poem in mind; the link is a commentator's proposal, the earliest in the books read being 『句解大成』, as 子規 quotes it; the two older commentaries 松尾 quotes, of 1769 and the 寛政 era, do not mention 兼好 in the lines she gives [31]. 『句解大成』 itself was not opened. No English book on the house's shelf names the poem in connection with the verse.

1901. 子規 again. Six years after he set the verse above 兼好's poem, 子規 turned on it. In his sickbed diary, 『仰臥漫録』, in an entry of 九月廿三日, as a teacher's manual of 1936 dates it, he wrote, in the words 斎藤茂吉 quotes in 1943: 此句、俳句ヲ知ラヌ内ヨリ、大キナ盛ンナ句ノヤウニ思フタノデ、今日迄古今有數ノ句トバカリ信ジテ居タ。今日フト此句ヲ思ヒ出シテツクヾヽト考ヘテ見ルト、「アツメテ」トイフ語ハタクミガアツテ甚ダ面白クナイ。ソレカラ見ルト 五月雨ヤ大河ヲ前ニ家二軒 蕪村 トイフ句ハ遙カニ進歩シテ居ル。, Since before I knew haiku I took this for a great, vigorous verse, and till today I believed it one of the few great verses of all time. Today it came to mind, and when I thought it through, the word あつめて has artifice in it and is not good at all. Beside it, Buson's 五月雨や大河を前に家二軒 is far ahead [39][40]. The diary is mainly of September and October 1901, by the encyclopedia's account, and was first printed whole in 1918 [41]. The word he faulted is the one the older commentators had praised: 呑吐's 『芭蕉句解』, in a draft of 明和六年 (1769), wrote 五月雨を集めてといへる働しるべし, mark what 五月雨を集めて does, and 杜哉's 『芭蕉翁発句集蒙引』, of the 寛政 era, 集字妙也, the word 集 is fine, as 松尾真知子 quotes them in 1989 [31]. Buson's verse is the one Blyth printed just before Bashō's in 1952 and Ueda set beside it in 1970 [24][42].

The verse in English

1932. Miyamori Asatarō. An Anthology of Haiku Ancient and Modern, no. 29: Collecting all the rains of May, / How swiftly flows the Mogami!, with a note that the Mogami is considered one of the three most rapid streams in Japan and that The figure, "Collecting all the rains of May," is incomparable. He prints two more: S. H. Wainright's How swiftly move / The June rains, / Brought together, / In the Mogami River! and S. Nishimura's With all the waters of the season's rain / The Mogami doth rush into the main; their own dates were not read [23].

1947. Kenneth Yasuda. A Pepper-Pod, under the title The River Mogami: Gathering rains of May, / The River Mogami rushes / Swiftly on her way [43].

1949 and 1952. R. H. Blyth. In Haiku, vol. 1, 1949: Collecting all / The rains of May, / The swift Mogami River, set beside a verse of Buson's on a nameless stream in the May rains [44]. In vol. 3, 1952, the same rendering, and then: The original form of this is said to have been: 五月雨を集めて涼し最上川, Samidare wo atsumete suzushi mogamigawa, Collecting all / The rains of May, / The cool Mogami River [24]. This is the earliest English cool on the house's shelf, among the English books searched for this history; Blyth names no host and no kasen.

1955. Donald Keene. Japanese Literature: An Introduction for Western Readers gives the kasen, not the journal: the Ōishida passage in English, then Bashō began the series with: samidare wo / atsumete suzushi / Mogami-gawa, Gathering seawards / The rains of May, coolly flows / Mogami River, and 一栄's, 曾良's and 川水's verses after it [45]. Seawards is Keene's; there is no word for it in the Japanese.

1958. Harold G. Henderson. An Introduction to Haiku, under the title The Great River: All the rains of June / it brings together, and is swift— / the river Mogami, glossing samidare as Fifth-month-rain [46].

1966. Nobuyuki Yuasa. Gathering all the rains / Of May, / The River Mogami rushes down / In one violent stream [47].

1970. Makoto Ueda. Matsuo Bashō: Gathering the rains / Of summer, how swiftly flows / The Mogami River!; and, beside Buson's verse on the summer rains, Samidare ya / Taiga o mae ni / Ie niken, Summer rains— / Facing an immense river, / A couple of houses: Obviously Bashō is standing at the edge of the swift-flowing river, while Buson looks down at the river from a far-off hill—probably an imaginary hill [42].

1981 and 1983. Hiroaki Sato. In one line, Gathering the May rains, and swift, the Mogami River, with a note giving the original, Gathering the May rains, and cool, the Mogami River, and 一栄's verse after it [48]; and in 1983 the kasen's opening as a greeting, above [32].

1992. Makoto Ueda. Bashō and His Interpreters: gathering the rains / of the wet season, how swiftly flows / the Mogami River!, with the note Written in Ōishida on the eastern shore of the Mogami River, and the Japanese commentators on the river's force and on whether Bashō stood on the bank or rode the boat; the entry says nothing of 涼し [49].

1996. Donald Keene. The Narrow Road to Oku: Gathering seawards / The summer rains, how swift it is! / Mogami River, keeping his seawards of 1955 [38].

1998 and 2002. Haruo Shirane. gathering the rains / of the wet season—cool / the Mogami River, for the kasen, with 一栄's a wharf post tying / a firefly to the bank [34]; and for the journal, in 2002, Gathering the rains / of the wet season—swift / the Mogami River, noting that one interpretation is that the wet season (samidare) is already over [37].

2004 to 2022. David Landis Barnhill, 2004: gathering all / the summer rains, the swift / Mogami River, with a note on the cool original as a greeting poem for his host Takano Ichiei who owned a boathouse on the river, sending the reader to Shirane [50]. Steven Carter, 2011: How swift / the jumble of summer rains: / Mogami River, and the original, How refreshing / the jumble of summer rains: / Mogami River [35]. Adam Kern, 2018: monsoon rains / gathered into the torrential / Mogami River! [51]. Andrew Fitzsimons, 2022: Rainy season rains / gather in spate harry the / Mogami River, with a note that follows Shirane's [52].

Today. A rendering should keep the order of the Japanese: the rain, the gathering, the speed, and the river last. May is the old calendar's month made into the new one's; the rain is the long rain of the fifth month, which the old calendar counts as midsummer and an English reader's calendar puts in early summer: the rainy season [17]. Swift is the word; 日国's sense is speed [16].

A reading

The word first. 早し is the journal's word, and the page's: the print, the 1932 reproduction and the dictionaries give it [1][2][16]. 涼し is the kasen's word, in every copy of the kasen opened here; the one report that says otherwise, 句選年考, also says that a piece in Bashō's hand read 涼し, and it gives no print [8]. I read 涼し as the first form, as every commentator read here does, and hold 句選年考's report open, because the first print of 『雪丸げ』 has not been read.

The two words next. 涼し belongs to the room: a guest, in a house on the river in the long rains, thanks his host for the cool, and the host answers that his boat post can moor only fireflies [4][34]. 早し belongs to the river. The journal sets the verse after the water has risen and the boat is in danger, and there it is a verse about force [1]. Where the new word came to Bashō, at 大石田, on the river or at his desk, the witnesses do not say, and I do not choose among 樋口, 潁原 and the later readers who place it in the writing of the journal [9][10][12]. I read the verse where the journal sets it.

The poem last. 兼好's poem and Bashō's verse share the river, the rains and its speed, and 兼好's own lines borrow the 古今和歌集's [14][33][31]. That makes the Mogami a place poets had been writing swift for centuries, and it makes the resemblance close. It does not make the poem Bashō's source: he names none, and the claim begins with a commentator [13]. Signed, 典.

Notes

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

Sources not seen

The kasen in Bashō's hand, privately owned and deposited at the 大石田町立歴史民俗資料館, not shown. It would settle the kasen's first verse as Bashō wrote it out the day after the session.

The first print of 『雪丸げ』, of 元文2 (1737), and the edition of 1775. They would show whether the book read 早し before the print read here, as 句選年考 reports.

曾良's notebook of the journey's verses, the 書留, at a leaf; known here through 潁原's and 志田's typesets.

『伊達衣』 (1699) at a leaf, and 『鳥の道』 and 『泊船集』, whose forms are given here from 潁原 and 句選年考.

The kasen of 大石田 in a local hand with 早し that 句選年考 reports, and 只狂's 眞蹟 with 凉し; neither is known to survive.

『芭蕉翁句解大成』 itself, 何丸's commentary, which 子規 quotes for the 兼好 poem; it would show what the commentary says beyond the line he quotes.

The 古今和歌集's poem on the Mogami rice boats at a primary; it is given here from Sato's English.

『仰臥漫録』 itself, in the 1918 edition or a 子規全集; its entry is given here as 斎藤茂吉 quotes it.

Japanese commentary after 1949 beyond the three papers read (東海林 1976, 松尾 1989, 宮脇 1995), including 山本健吉's, 尾形仂's of 1985, and the Shōgakukan edition 松尾 cites.

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

References

  1. 『おくのほそ道』, 井筒屋庄兵衛, 元禄15 (1702), 北海道大学 copy, canvases 34 and 35, at the 国書データベース. https://kokusho.nijl.ac.jp/biblio/100000092
  2. 野村宗朔 編, 『奥の細道 : 素竜本』, 大倉廣文堂, 1932, pp. 六二–六五, scans 46–47, at the National Diet Library. https://dl.ndl.go.jp/pid/1175286/1/47
  3. 「おくのほそ道」, デジタル大辞泉, 日本大百科全書 (ニッポニカ) and 日本史小辞典, at kotobank. https://kotobank.jp/word/おくのほそ道-219438
  4. 『雪満呂気』, catalogued as the 天明3 (1783) print, 東京大学 竹冷文庫 copy, canvas 14, at the 国書データベース. https://kokusho.nijl.ac.jp/biblio/100392426
  5. 勝峰晋風 校訂, 『俳諧一葉集』, 紅玉堂書店, 1925, pp. 24 and 207, scans 18 and 109, at the National Diet Library. https://dl.ndl.go.jp/pid/1018232/1/109
  6. 大石田町, 「おおいしだものがたり 第三話 松尾芭蕉の来町と最上川」. https://www.town.oishida.yamagata.jp/chousei/kouhou/oishidastory/oishidastory1-10/200005-01.html
  7. 山形県, 「五月雨歌仙 芭蕉筆」, 山形の宝検索navi. https://www.pref.yamagata.jp/cgi-bin/yamagata-takara/?m=detail&id=1464
  8. 石河積翠, 『芭蕉句選年考』 上, 大野洒竹・沼波瓊音 校訂, 文成社, 1911, the 開題, p. 一, scan 7, and pp. 三〇〇–三〇一, scan 166, at the National Diet Library. https://dl.ndl.go.jp/pid/991654/1/166
  9. 樋口功, 『芭蕉紀行全集 : 輯釈』, 京屋書店, 1925, pp. 二一四–二一七, scans 117–118, at the National Diet Library. https://dl.ndl.go.jp/pid/1016762/1/117
  10. 潁原退蔵, 『芭蕉講話』, 出来島書店, 1944, pp. 一五八–一五九, scan 88, at the National Diet Library. https://dl.ndl.go.jp/pid/1128315/1/88
  11. 志田義秀, 『奥の細道評釈 : 新註』, 紫乃故郷舎, 1948 (printed after his death in 1946; its preface is signed 編者, the editor), pp. 一三四–一三五, scan 71, at the National Diet Library. https://dl.ndl.go.jp/pid/1704037/1/71
  12. 宮脇真彦, 「涼の別天地を行く : 『おくのほそ道』出羽考」, 『日本文学』 44 (2), 1995, p. 60, at J-STAGE. https://www.jstage.jst.go.jp/article/nihonbungaku/44/2/44_KJ00009823711/_article/-char/ja/
  13. 正岡子規, 『獺祭書屋俳話』, 日本新聞社, 1895, pp. 二十二–二十三, scan 51, and p. 四十三, scan 61, at the National Diet Library. https://dl.ndl.go.jp/pid/875217/1/51
  14. 『兼好法師集』, 『新校群書類従』 第十二巻, 内外書籍, 1930, 巻第二百六十九, p. 四〇五, scan 238, at the National Diet Library. https://dl.ndl.go.jp/pid/1879761/1/238
  15. 『藤葉和歌集』 巻第二, 『新校群書類従』 第七巻, 内外書籍, 1928, 巻第百五十七, p. 四二八, scan 243, at the National Diet Library. https://dl.ndl.go.jp/pid/1879740/1/243
  16. 「早い」, デジタル大辞泉 and 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/早い-604570
  17. 「五月雨」, デジタル大辞泉, 精選版 日本国語大辞典 and 日本大百科全書 (ニッポニカ), at kotobank. https://kotobank.jp/word/五月雨-510965
  18. 「最上川」, デジタル大辞泉 and 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/最上川-142163
  19. 「涼しい」, デジタル大辞泉 and 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/涼しい-541800
  20. 「志田義秀」, ブリタニカ国際大百科事典 小項目事典 and デジタル版 日本人名大辞典+Plus, at kotobank. https://kotobank.jp/word/志田義秀-73735
  21. 「大石田」, 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/大石田-2014590
  22. 「歌仙」, デジタル大辞泉, at kotobank. https://kotobank.jp/word/歌仙-44792
  23. Asatarō Miyamori, An Anthology of Haiku Ancient and Modern, Maruzen, 1932, no. 29, p. 142, read on the house's shelf.
  24. R. H. Blyth, Haiku, vol. 3, Summer–Autumn, Hokuseido, 1952, pp. 48–49, read on the house's shelf.
  25. 大藪虎亮, 『奥の細道の新研究 : 詳解口訳』, 公文館, 1933, pp. 一九二–一九五 and 一九七, scans 123–125, at the National Diet Library. https://dl.ndl.go.jp/pid/1124151/1/123
  26. 籾山庭後 校訂, 『雪まろげ : 附・奥の細道』 (俳諧名著文庫 8), 俳書堂, 1916, p. 一七, scan 12; the 校註, p. 六五, scan 36; the 校訂餘言, pp. 九六–九七, scan 52; the 異同辨, pp. 一二〇–一二一, scan 64, at the National Diet Library. https://dl.ndl.go.jp/pid/953370/1/12
  27. 服部畊石, 『芭蕉句集新講』 上, 四条書房, 1932, pp. 四五〇–四五一, scan 231, at the National Diet Library. https://dl.ndl.go.jp/pid/1145820/1/231
  28. 潁原退蔵, 『新校芭蕉俳句全集』, 全国書房, 1947, p. 六一, scan 42, at the National Diet Library. https://dl.ndl.go.jp/pid/1128353/1/42
  29. 勝峰晋風 編, 『日本俳書大系』 16, 1928, the index of Bashō's verse, scan 184, at the National Diet Library. https://dl.ndl.go.jp/pid/1179400/1/184
  30. 東海林隆, 「「おくのほそ道」大石田一栄・川水史料」, 『連歌俳諧研究』 51, 1976, pp. 36 and 39, at J-STAGE. https://www.jstage.jst.go.jp/article/haibun1951/1976/51/1976_51_35/_article/-char/ja/
  31. 松尾真知子, 「「五月雨をあつめて早し最上川」私解」, 『連歌俳諧研究』 77, 1989, pp. 13–14, at J-STAGE. https://www.jstage.jst.go.jp/article/haibun1951/1989/77/1989_77_7/_article/-char/ja/
  32. Hiroaki Sato, One Hundred Frogs, Weatherhill, 1983, p. 92, read on the house's shelf.
  33. Hiroaki Sato, Bashō's Narrow Road, Stone Bridge Press, 1996, the introduction, pp. 27–29; the translation, p. 97, and n. 210, p. 94; endnote 13, p. 145, read on the house's shelf.
  34. Haruo Shirane, Traces of Dreams: Landscape, Cultural Memory, and the Poetry of Bashō, Stanford University Press, 1998, pp. 170–173, read on the house's shelf.
  35. Steven D. Carter, Haiku before Haiku: From the Renga Masters to Bashō, Columbia University Press, 2011, the introduction and nn. 21–24, read on the house's shelf.
  36. 牧野望東・星野麦人, 『俳諧年表』, 博文館, 1901, p. 一九四, scan 118, at the National Diet Library. https://dl.ndl.go.jp/pid/992182/1/118
  37. Haruo Shirane, ed., Early Modern Japanese Literature: An Anthology, 1600–1900, Columbia University Press, 2002, p. 224 and n. 72, read on the house's shelf.
  38. Donald Keene, tr., The Narrow Road to Oku, Kodansha International, 1996, p. 103, and n. 35, p. 183, read on the house's shelf.
  39. 斎藤茂吉, 『正岡子規』, 創元社, 1943, p. 四五, scan 29, at the National Diet Library. https://dl.ndl.go.jp/pid/1142944/1/29
  40. 垣内松三 編, 『女子国文新編第三版教授参考書』 巻3, 文学社, 1936, p. 一三七, scan 76, at the National Diet Library. https://dl.ndl.go.jp/pid/1279518/1/76
  41. 「仰臥漫録」, 日本大百科全書 (ニッポニカ), at kotobank. https://kotobank.jp/word/仰臥漫録-1526218
  42. Makoto Ueda, Matsuo Bashō, 1970, pp. 54 and 174–175, read on the house's shelf in the Kodansha International printing of 1982.
  43. Kenneth Yasuda, A Pepper-Pod, Knopf, 1947, The River Mogami, read on the house's shelf in the Tuttle edition of 1976, an EPUB without page numbers.
  44. R. H. Blyth, Haiku, vol. 1, Eastern Culture, Hokuseido, 1949, p. 337, read on the house's shelf.
  45. Donald Keene, Japanese Literature: An Introduction for Western Readers, Grove Press, 1955, pp. 42–43, read on the house's shelf.
  46. Harold G. Henderson, An Introduction to Haiku: An Anthology of Poems and Poets from Bashō to Shiki, Doubleday Anchor, 1958, p. 40, read on the house's shelf.
  47. Nobuyuki Yuasa, tr., The Narrow Road to the Deep North, Penguin, 1966, p. 124, read on the house's shelf.
  48. Hiroaki Sato and Burton Watson, From the Country of Eight Islands, Anchor, 1981, p. 285 and n. 19, read on the house's shelf.
  49. Makoto Ueda, Bashō and His Interpreters: Selected Hokku with Commentary, Stanford University Press, 1992, pp. 251–252, read on the house's shelf.
  50. David Landis Barnhill, Bashō's Haiku: Selected Poems of Matsuo Bashō, SUNY Press, 2004, no. 393, and the note, p. 217, read on the house's shelf.
  51. Adam L. Kern, The Penguin Book of Haiku, Penguin, 2018, p. 120, and the commentary, pp. 306–307, read on the house's shelf.
  52. Andrew Fitzsimons, Bashō: The Complete Haiku, University of California Press, 2022, no. 523, p. 194, 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 五月雨をあつめて早し最上川 (samidare o atsumete hayashi mogamigawa)," Takase Studios, 2026, https://takase.com/library/philology/samidare-o-atsumete-hayashi-mogamigawa.