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閑さや岩にしみ入蝉の声 shizukasa ya iwa ni shimiiru semi no koe Bashō - Stillness: the cicada's voice seeps into the rocks

閑さや岩にしみ入蝉の声 (shizukasa ya iwa ni shimiiru semi no koe) is Bashō's verse at the mountain temple of Risshakuji, in 1689. Its first print has no る after 入. Scholars argued for eight years over which cicada it hears, and in 1932 the one who had been wrong said so in print.

Japanese Scroll of Bashō - Stillness: the cicada's voice seeps into the rocks (shizukasa ya iwa ni shimiiru semi no koe) — Calligraphy by Eri Takase
Bashō - Stillness: the cicada's voice seeps into the rocks閑さや岩にしみ入蝉の声shizukasa ya iwa ni shimiiru semi no koe

Original art by Master Calligrapher Eri Takase

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Abstract

閑さや岩にしみ入蝉の声, stillness: the cicada's voice seeps into the rocks, is the hokku Matsuo Bashō 松尾芭蕉 set at the mountain temple of Risshakuji 立石寺 in his travel journal, 『おくのほそ道』, from the journey of 1689 [1][2]. The first print, of 1702, and both manuscripts in the hand of his scribe Soryū 素竜, as a collation of 1960 reports them, write 閑さや and しみ入 with no る, after two earlier forms, 山寺や石にしみつく蝉の声 and さびしさや岩にしみ込蝉のこゑ; of the later books this history cites, more write the ending, しみ入る or しみいる, than leave it, and that is how the line is read, and the two spellings are one verse [2][3][4][5][6][7]. From 1924 to 1932 the verse's cicada was argued over in print, and in 1932 斎藤茂吉, who had said it was the large abura-zemi, wrote that 小宮豊隆 had been right: it was the small niinii-zemi [8][9][10]. I read the line as one kind of cicada, its number left open, as the Japanese leaves it.

Overview

The text. The verse as brushed here, 閑さや岩にしみ入蝉の声, 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, and of a reproduction of that print made in 1932 [2][3][11][12]. In both, the last column of the 立石寺 passage reads 閑さや岩にしみ入, and then the cicada's voice, in linked cursive; there is no る after 入 [2][3]. Two manuscripts in Soryū's hand survive: the fair copy he made for Bashō in the early summer of 1694, kept by the 西村 family of Tsuruga, and a second copy, the 柿衛本 [11]. 岡田利兵衞's transcription of the 柿衛本, printed in 1960 beside the fair copy's readings, gives the verse in both, and neither has る: 閑さや岩にしみ入せミのこゑ in the 柿衛本, in kana, and 閑さや岩にしみ入蟬の声 in the fair copy [4]. 精選版 日本国語大辞典 quotes the verse in this form, twice [13][6].

The sense. 閑さ is stillness, quietness: the noun of 静か, which 日本国語大辞典 enters as 【静か・閑か】, with the sense うるさい物音の聞こえないさま … ひっそり, no noisy sound to be heard; hushed, and an example from 徒然草, しづかなる山の奥, deep in a quiet mountain [14]. や is the cutting word: the line stops on the stillness. しみ入る is to seep in, to soak deep into: デジタル大辞泉 defines it 物の奥深くにじみ込む。また、心に深くしみこむ, to seep deep into a thing; also, to sink deep into the heart, and 日本国語大辞典 sets it equal to しみこむ and gives this verse as its second example, after a poem of the early thirteenth century [13]. 蝉の声 is the cicada's voice. Japanese does not mark the number, so it may be one cicada or many; that question is taken below. So the line says: stillness; the cicada's voice soaks into the rock.

The words. 閑 is the 閑 of 清閑: the prose before the verse calls the temple 殊清閑の地, a place of especial quiet [3]. 閑さ and 閑かさ are two spellings of one word, しずかさ: the second writes out the か of 静か, which the first leaves to the reader [14]. In the same way しみ入 and しみ入る are one verb; the print leaves the ending to the reader, and the commentators print it. The 1932 editor's own headnotes say so, 閑さ—閑かさ and しみ入—しみ入る [3][15]. The cicada is 蟬 in the fair copy as 岡田 gives it, and せミ in the 柿衛本's kana [4]. Which cicada it is was argued in print from 1924 to 1932, and the encyclopedias now name the niinii-zemi, ニイニイゼミ, as 〈閑さや岩にしみ入（いる）蟬の声〉に詠まれているセミとして有名, famous as the cicada of this verse [16].

The text in English. The earliest known English rendering with a date, on the house's shelf and in the Internet Archive's full text, is in Miyamori Asatarō's anthology of 1932: his own What stillness! The cicadas' voices / Penetrate the rocks, and two renderings by others that he prints without a date [17]. The English renderings differ chiefly in two places: what the voice does to the rocks (penetrate, sink into, pierce, seep into, drill into, stinging into), and how many cicadas there are. The translations are taken in order below.

The historical record

1689. The visit. In the passage that frames the verse, Bashō says the temple at 立石寺 in the Yamagata domain was founded by 慈覚大師 and is 殊清閑の地; people had urged him to see it, and he turned back from 尾花沢 to go. He climbed among rocks piled on rocks, old pines and cypresses and moss; the doors of the halls on the crags were shut and no sound was heard; and 佳景寂寞として心すみ行のみおぼゆ, the fine scene was still and lonely, and I felt only my heart growing clear [3][18]. Makoto Ueda's note gives the day: Bashō arrived here for an overnight stay on July 13 [19]. The temple, called Yamadera, has a stone with the verse on it, set up in 1853 by 門人たち, followers, as a guide to the national historic sites puts it [1].

The earlier forms. 潁原退蔵's edition of 1947 prints the verse's earlier forms on the same page as the final one. Under the headnote 立石寺, Sora 曾良's notebook of the journey's verses, the 書留, has 山寺や石にしみつく蟬の聲, the mountain temple: sticking to the stones, the cicada's voice, with the editor's note この形が最初の案であつたと思はれる, this appears to have been the first draft. The anthologies 『初蟬』 and 『泊船集』 print さびしさや岩にしみ込蟬のこゑ, loneliness: soaking into the rocks, the cicada's voice, and 『木がらし』 prints 淋しさの岩にしみ込せみの聲 [5]. So the verse moved from the place (山寺) to loneliness (さびしさ) to stillness (閑さ), and from sticking to (しみつく) through soaking into (しみ込む) to seeping in (しみ入る). Haruo Shirane reads the last change as the point: shimiiru … implies the non-physicality of the voice, which passes, as if untouched, deep into the rocks and by implication becomes stillness [20]. The 1947 edition lists the final form also in 桃隣's anthology 『陸奥鵆』 [5], whose postface is dated 1697 (元禄一〇跋, in the 国書データベース's record), five years before the print of 『おくのほそ道』 [21]; that book was not read at a leaf for this history.

1694 to 1702. The manuscripts and the print. Soryū's fair copy was finished in the early summer of 1694; Bashō, by his will, left it to 去来; the 西村 family of Tsuruga has it now [11]. The book was printed in Kyoto in 1702 by 井筒屋庄兵衛 and reprinted many times [11]. The editor of the 1932 reproduction says he reproduced one copy of that print at its own size, 素龍本の一を原寸に複製, and its last page bears the printer's line, 京寺町二條上ル町 井筒屋庄兵衛板 [12]. The print, the fair copy and the 柿衛本 all write 閑さや … しみ入, as above [2][4]. The earliest collection of Bashō's verse in the National Diet Library's digitized books that carries it, 蝶夢's 『芭蕉翁発句集』 of 1774, prints it under the headnote 立石寺 the same way: 閑さや岩にしみ入蝉の聲, with no る; the two cursive kana before 入 are not certain, and are read here as しみ [22].

1924. How many cicadas. The first discussion of the verse's cicada found for this history is a round-table on Bashō's verse printed in 1924, 『続芭蕉俳句研究』. Its heading prints the verse しづかさや岩にしみ入せみの聲. 太田水穂 asks whether the cicada is one or a crowd, and thinks, from しみ入る, not many. 小宮豊隆 answers that the number does not matter to him, but the kind does: 唯蟬には註文がある。此所の蟬は九州の田舍ではチィチィ蟬と云ふ、梅の木だの梨の木だのにとまつてゐると一寸わからないやうな翅やからだの色をした、ジージーと鳴いてゐる、あの蟬でなくてはいけない, I have one demand of the cicada. This cicada must be the one called the chii-chii cicada in the Kyushu countryside, colored in wing and body so that you can hardly see it on a plum or pear tree, the one that goes jii-jii. 安倍能成: 僕の方ではあれを小蟬といふ, where I come from we call it the little cicada. 和辻哲郎: いや、山全體がジーと音をたててゐるのです, no, the whole mountain is going jii. 小宮 again: 多くの蟬の聲が一つになつて、ジージーと云つてゐる。夫が「岩にしみ入る」のです, many cicadas' voices become one and go jii-jii; that is what "seeps into the rock" [8]. In a note at the end 阿部次郎 agrees with 小宮: 他處は知らないが僕の方で最も多いのは小蟬だ。この場合もその普通の蟬と見てよからう, I do not know about other places, but where I come from the commonest is the little cicada; here too it may be taken as that ordinary cicada [8].

1925 to 1932. Which cicada. 斎藤茂吉 tells the rest in an essay of 1932, 「立石寺の蟬」. In 1925 or 1926 he had written in a magazine, 殆ど斷定的に, almost as a certainty, that the verse's cicada was the 油蟬, the abura-zemi. At a dinner in Kanda given by the head of 岩波書店, 大體昭和二年の春ごろ, about the spring of 1927, 小宮 objected on two grounds: that 『しづかさや』 and 『岩にしみ入る』 do not suit the abura-zemi, and that the visit, about the twentieth of the fifth month by the old calendar, fell in early July, when the abura-zemi may not yet sing. 茂吉 did not concede the first point that evening, since he had heard in the verse 蟬時雨のやうな群蟬の鳴くなかの靜寂, a stillness inside the chorus of many cicadas, like a shower of rain [9]. 小宮 put his case in print in an essay dated 20 August 1929: the voice that can seem to seep into rock must be 細くて比較的澄んでゐて絲筋のやうに續くかと思へば時時撓りが見えるやうなにいにい蟬の聲, the niinii-zemi's voice, thin, fairly clear, running on like a thread and now and then bending, not the abura-zemi's, 太くて濁つて直線的で然も息が續かない, thick, muddy, straight and short of breath; and he asked for 誰か實地踏査をしたことのある人, someone who has looked on the ground [10].

茂吉 went to look. He had been to 立石寺 several times as a boy, and his memory of its cicadas, their voices and their kinds, was hazy, おぼろげ; he went on 3 August 1928 and heard 群蟬の鳴ごゑが一つになつて, the voices of many cicadas made one, but the day was in August, too late to apply to Bashō's verse. 土屋文明 converted the date of Bashō's visit for him: 七月七日前後, about the seventh of July. He set out on 4 July 1930 and was rained off at 上山; when the rain cleared, 哀草果 and others took schoolchildren up the mountain to collect its cicadas, and in early August 茂吉 was shown the specimens: にいにい蟬は大部分を占めて居り … 兒童等は油蟬をも捕へてゐる, the niinii-zemi were the great majority … the children had caught abura-zemi too. His conclusion: 芭蕉が立石寺で吟じた俳句の中の蟬は小宮豐隆さんの結論の方が正しかつた。私の結論にはその道程に落度があつて駄目であつた, on the cicada in the verse Bashō made at Risshakuji, 小宮豊隆's conclusion was the right one; mine had a flaw in the way it was reached and fails. He kept one reservation: 動物學的には油蟬を絕對に否定し得ざること標本の示す如くであるが、文學的には先づ油蟬をば否定していい, zoologically, as the specimens show, the abura-zemi cannot be ruled out absolutely; but in literature we may rule it out. And on the number: 芭蕉はやはり、『閑かさや』といつて一つか二つかのにいにい蟬を寫生してゐるらしい, Bashō, saying "stillness," seems after all to be drawing one or two niinii-zemi from life. He told 小宮 so in person in the spring of 1931, and printed the essay in August 1932 [9].

Both men worked from an estimate, about the twentieth of the fifth month [10][9]. Sora's travel diary of the journey survives in his own hand, and the earliest dated reproduction in the 国書データベース's list of its editions is of 1943 [23]. Ueda's July 13 is a week later than 土屋's estimate [19].

After 1932. The commentators took the niinii-zemi. 志田義秀's commentary on the journal, printed in 1948, two years after his death: まだ眞夏とはいへない折りから、にい〳〵蟬が一つ澄み透るやうに鳴いて, at a time not yet high summer, one niinii-zemi sings, clear and piercing [24]. 潁原退蔵, in 1944, named no kind: 五月の蟬がジーと鳴き出した, a cicada of the fifth month began to sing jii [25]. The matter was not closed for everyone. 飯野哲二, in 1939, by his book's text as the National Diet Library's search shows it: 蟬の種類、種々の說あれども(實地調査の結果)普通のアブラゼミと見て可なり, on the kind of cicada there are various views, but (from a field survey) it may be taken as the ordinary abura-zemi; whose survey, the snippet does not say [26]. Today 世界大百科事典 names the niinii-zemi as the cicada of the verse, and says it appears 梅雨明けとともに, with the end of the rainy season, is most numerous in late July, and sings チーという澄んだ声で, in a clear voice, chii [16]. デジタル大辞泉, in its entry for the cicada, quotes it 閑(しづ)かさや岩にしみ入る―の声, and ニッポニカ, in its entry for 立石寺, 閑(しずか)さや岩にしみ入る蝉(せみ)の声: both with る [6][7].

The verse in English

1900 and 1905. A verse that was not translated. Lafcadio Hearn's essay "Sémi", in Shadowings, 1900, gives a cicada verse on seeping: Matsu no ki ni / Shimikomu gotoshi / Sémi no koë. / Into the wood of the pine-tree / Seems to soak / The voice of the sémi, with no poet named [27]. 沼波瓊音, reviewing a set of cicada verses in English in 1905, quotes the same English word for word but for a capital S, Into the wood of the pine-tree / Seems to soak / The voice of the Sémi, and adds: 芭蕉の句に、「しづかさや岩にしみ入せみの聲」といふのがあるから、この句は一向詰まらないのである。芭蕉の句の方を紹介されなかつたのは遺憾である, since Bashō has the verse "stillness: seeping into the rock, the cicada's voice," this one is of no interest at all; it is a pity that Bashō's was not the one introduced [28]. Bashō's verse is not in Hearn's essay, by a search of its text [27].

1932. Miyamori Asatarō. An Anthology of Haiku Ancient and Modern, no. 104, printing the Japanese as 閑さや岩にしみいる蟬の聲: What stillness! The cicadas' voices / Penetrate the rocks. His note: The cicadas cried jii-jii in a rather low, monotonous tone … Strange to say, two or three cicadas' comparatively low voices heard in a quiet spot sometimes give an impression of stillness. He then prints two renderings by others, with no date or source: Minoru Toyoda's How silent! / The cicadas' shrill / Sinks into the rocks, and Glenn Shaw's The utter silence— / And sinking straight into the rocks, / A cicada's shrill [17]. Where Toyoda and Shaw first printed theirs was not found.

1942 and 1952. R. H. Blyth. In Zen in English Literature and Oriental Classics: What stillness! / The voices of the cicadas / Penetrate the rocks, with a note on the plural: The singular would bring the individual cicada too much to the foreground of the mind; and the sound of the voice of the cicada is the stillness [29]. In Haiku, vol. 3, 1952: The silence; / The voice of the cicadas / Penetrates the rocks, and on the next page, the sudden zzzzz of an early cicada in June [30].

1955 and 1976. Donald Keene. In his Anthology of Japanese Literature, inside his translation of the journal: Such stillness— / The cries of the cicadas / Sink into the rocks [18]. In World Within Walls, 1976: How still it is! / Stinging into the stones, / The locusts' trill, and This verse is about stillness, yet only by sound can we know silence [31]. Locusts is Keene's word for the cicadas.

1958. Harold G. Henderson. So still: / into rocks it pierces— / the locust-shrill, glossed word by word Stillness | : | rocks | to | pierce-in | locust-voices [32].

1992. Makoto Ueda. Bashō and His Interpreters: the stillness— / seeping into the rocks / cicadas' screech. Ueda's commentary gives in English three voices whose words match the 1924 round-table's: If my sensibility is reliable, there should not be many cicadas here. —Mizuho; I disagree. The whole mountain is filled with the cicadas' screech. —Watsuji; I'd rather have many cicadas in this scene … —Komiya [19].

1994 to 2018. Robert Hass, 1994: Stillness— / the cicada's cry / drills into the rocks [33]. Haruo Shirane, 1998: stillness— / sinking deep into the rocks / cries of the cicada, with the earlier forms and the change of verb [20]. Hiroaki Sato, 2018, Quietness: seeping into the rocks, the cicada's voice, names the dispute in English: Was the cicada the small and delicate niiniizemi … or the large and loud aburazemi … or another kind? My translation also raises the question of whether there was just one cicada or many [34].

Today. A rendering should keep the stillness first, the rock, and the voice last: stillness: the cicada's voice seeps into the rocks. Penetrate, pierce and drill are stronger than しみ入る as 大辞泉 defines it, a seeping, not a piercing [13]; Shirane glosses shimiiru to penetrate, pass deep into, and sets it against the drafts' shimitsuku, to stick to, and shimikomu, to seep into [20].

A reading

The spelling first. 閑さや … しみ入 is how Soryū copied Bashō's text and how it was first printed, and it has been read shizukasa ya … shimiiru ever since; the endings the print leaves out, the reader supplies, and later books print them, 閑かさ, しみ入る, or leave them [2][4][9][15]. Neither is the wrong verse. The print's is the older spelling, and the one the dictionary quotes [13].

The cicada next. On the evidence of the mountain in July and of the sound the verse asks for, the niinii-zemi is the better reading, and 茂吉 was honest to say so, with his one reservation [9][16]. The number I would leave where the Japanese leaves it. 小宮 in 1924 wanted many voices made one; 茂吉 in 1932 heard one or two [8][9]. Japanese does not have to choose, and English does, so I write the cicada's voice, which in English can be one insect or the kind. What I hear in the verse is what Keene says: the stillness is known by the sound, and the sound goes into the rock and does not come back [31]. Signed, 典.

Notes

The forms of the verse. Point by point, against the witnesses, the commentators and today's books:

Sources not seen

『曾良本おくのほそ道』, the copy of Bashō's draft made by Sora, held at the 天理図書館; listed in the 国書データベース without images. It would show the verse in the draft from which the fair copy was made.

The 中尾本, a manuscript argued to be in Bashō's own hand (田中善信, 「中尾本『おくのほそ道』の再検討 : 自筆説の立場から」, 『連歌俳諧研究』, 2013, listed at CiNii Research). It would show the verse in what may be Bashō's own writing.

弥富破摩雄, 『近世國文學之研究』, pp. 190–193, cited by 三浦圭三 in 1936 for the cicada of this verse; its National Diet Library record was not found.

飯野哲二, 『おくのほそ道の基礎研究』, 1939, in full; it is served by the National Diet Library only inside Japan, and its field survey of the cicada is known here only from a search snippet.

A Japanese Scrap-Book of 1932 at the Internet Archive, for lending, which its full-text search ties to Glenn Shaw; it may carry his rendering of the verse and its first date.

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

References

  1. 「山寺」, 国指定史跡ガイド and other dictionaries, at kotobank. https://kotobank.jp/word/山寺-144177
  2. 『おくのほそ道』, 井筒屋庄兵衛, 元禄15 (1702), 北海道大学 copy, canvas 33, at the 国書データベース. https://kokusho.nijl.ac.jp/biblio/100000092
  3. 野村宗朔 編, 『奥の細道 : 素竜本』, 大倉廣文堂, 1932, pp. 六〇–六一, scan 45, at the National Diet Library. https://dl.ndl.go.jp/pid/1175286/1/45
  4. 岡田利兵衞, 「柿衛本『おくのほそ道』(素竜自筆)」, 『連歌俳諧研究』 20, 1960, pp. 73–122 (the verse p. 106), at J-STAGE. https://www.jstage.jst.go.jp/article/haibun1951/1960/20/1960_20_73/_article/-char/ja/
  5. 潁原退蔵, 『新校芭蕉俳句全集』, 全国書房, 1947, p. 九六, scan 60, at the National Diet Library. https://dl.ndl.go.jp/pid/1128353/1/60
  6. 「蝉」, デジタル大辞泉 and 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/蝉-548715
  7. 「立石寺」, 日本大百科全書 (ニッポニカ) and other encyclopedias, at kotobank. https://kotobank.jp/word/立石寺-148963
  8. 安倍能成 等, 『続芭蕉俳句研究』, 岩波書店, 1924, pp. 二七一–二七五, scans 146–148, at the National Diet Library. https://dl.ndl.go.jp/pid/977903/1/146
  9. 斎藤茂吉, 「立石寺の蟬」 (『文學』, August 1932), in 『文学直路』, 青磁社, 1945, pp. 一–八, scans 9–13, at the National Diet Library. https://dl.ndl.go.jp/pid/1069534/1/9
  10. 小宮豊隆, 「立石寺の蟬」, in 『芭蕉の研究』, 岩波書店, 1933, pp. 三二六–三二九, scans 169–170, at the National Diet Library. https://dl.ndl.go.jp/pid/1213547/1/169
  11. 「おくのほそ道」, 日本大百科全書 (ニッポニカ), at kotobank. https://kotobank.jp/word/おくのほそ道-219438
  12. 野村宗朔 編, 『奥の細道 : 素竜本』, 1932, 緒言 p. 二, scan 9, and p. 108, scan 69, at the National Diet Library. https://dl.ndl.go.jp/pid/1175286/1/9
  13. 「染入る」, デジタル大辞泉 and 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/染入る-523808
  14. 「静か」, 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/静か-519671
  15. 服部畊石, 『芭蕉句集新講』 上, 四条書房, 1932, p. 四四九, scan 230, at the National Diet Library. https://dl.ndl.go.jp/pid/1145820/1/230
  16. 「ニイニイゼミ」, 改訂新版 世界大百科事典 and other encyclopedias, at kotobank. https://kotobank.jp/word/にいにいぜみ-3162153
  17. Asatarō Miyamori, An Anthology of Haiku Ancient and Modern, Maruzen, 1932, no. 104, pp. 207–208, read on the house's shelf.
  18. Donald Keene, ed., Anthology of Japanese Literature: From the Earliest Era to the Mid-Nineteenth Century, Tuttle, 1955, The Narrow Road of Oku (EPUB, no page numbers), read on the house's shelf.
  19. Makoto Ueda, Bashō and His Interpreters: Selected Hokku with Commentary, Stanford University Press, 1992, pp. 249–250, read on the house's shelf.
  20. Haruo Shirane, Traces of Dreams: Landscape, Cultural Memory, and the Poetry of Bashō, Stanford University Press, 1998, pp. 228–229, read on the house's shelf.
  21. 「陸奥鵆」, 太白堂桃隣 編, 元禄一〇跋, work record 510225, at the 国書データベース. https://kokusho.nijl.ac.jp/work/510225
  22. 五升庵蝶夢 編, 『芭蕉翁発句集』, 井筒屋, 安永3 (1774), 下 15ウ–16オ, scan 44, at the National Diet Library. https://dl.ndl.go.jp/pid/2540314/1/44
  23. 「曾良旅日記」, work record 1373860, at the 国書データベース. https://kokusho.nijl.ac.jp/work/1373860
  24. 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. 一三〇–一三一, scan 69, at the National Diet Library. https://dl.ndl.go.jp/pid/1704037/1/69
  25. 潁原退蔵, 『芭蕉講話』, 出来島書店, 1944, pp. 一五六–一五七, scan 87, at the National Diet Library. https://dl.ndl.go.jp/pid/1128315/1/87
  26. 飯野哲二, 『おくのほそ道の基礎研究』, 思潮社, 1939 (snippet view, National Diet Library). https://dl.ndl.go.jp/pid/1882632
  27. Lafcadio Hearn, Shadowings, Little, Brown, 1900, "Sémi", p. 89, read on the house's shelf.
  28. 沼波瓊音, 『さへづり』, 1905, p. 307, scan 156, at the National Diet Library. https://dl.ndl.go.jp/pid/889054/1/156
  29. R. H. Blyth, Zen in English Literature and Oriental Classics, Hokuseido, 1942, p. 339 and its note, read on the house's shelf.
  30. R. H. Blyth, Haiku, vol. 3, Summer–Autumn, Hokuseido, 1952, pp. 229–230, read on the house's shelf.
  31. Donald Keene, World Within Walls: Japanese Literature of the Pre-Modern Era, 1600–1867, Grove Press, 1976, p. 89, read on the house's shelf.
  32. 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.
  33. Robert Hass, The Essential Haiku: Versions of Bashō, Buson, and Issa, Ecco Press, 1994, p. 40, read on the house's shelf.
  34. Hiroaki Sato, On Haiku, New Directions, 2018 (EPUB, no page numbers), 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 閑さや岩にしみ入蝉の声 (shizukasa ya iwa ni shimiiru semi no koe)," Takase Studios, 2026, https://takase.com/library/philology/shizukasa-ya-iwa-ni-shimiiru-semi-no-koe.