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塚も動け我が泣聲は秋の風 tsuka mo ugoke waga naku koe wa aki no kaze Bashō - Shake even the grave, My wailing is the autumn wind

塚も動け我が泣聲は秋の風 (tsuka mo ugoke waga naku koe wa aki no kaze) is Bashō's grief at a poet's grave, his weeping voice the autumn wind. He composed it at the memorial for the poet Isshō in Kanazawa in 1689, and it was printed in 1691. This study follows a legend of a second offering, and the verse's English from Miyamori to Fitzsimons.

Japanese Scroll of Bashō - Shake even the grave, My wailing is the autumn wind (tsuka mo ugoke waga naku koe wa aki no kaze) — Calligraphy by Eri Takase
Bashō - Shake even the grave, My wailing is the autumn wind塚も動け我が泣聲は秋の風tsuka mo ugoke waga naku koe wa aki no kaze

Original art by Master Calligrapher Eri Takase

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Abstract

塚も動け我が泣聲は秋の風, move, grave-mound: my weeping voice is the autumn wind, is Bashō's own, composed at the memorial in Kanazawa on 5 September 1689 for Isshō 一笑, a tea dealer and poet who had waited to receive him and had died the winter before, and recorded in his travel book おくのほそ道. A sheet in his hand, published in photograph in 1955, heads it with a visit to the grave, and it was printed first in 1691, in the memorial anthology 西の雲 and in Kikaku 其角's 雑談集, eleven years before the travel book; a legend of 1723 tells of the master offering it a second time, at a stranger's grave. Shiki wondered whether it grew from an old line and heard it said in one breath, and Miyamori, Blyth, Henderson, Yuasa, Ueda, Keene, Shirane and Fitzsimons carried it into English, Blyth hearing in it the ancient Hebrew poets.

Overview

The text. The scroll carries 塚も動け我が泣聲は秋の風, and the record carries one text written several ways. Bashō's autograph, as 殿田良作 photographed it in 1955, writes つかもうこけ我泣聲ハ秋の風 [1]; the 1691 雑談集, in its 1935 typeset, 塚もうごけ我泣ク聲は秋の風 [2]; 陸奥鵆 (1697), 塚も動けわが泣く聲は秋の風 [3]. The が. The 1702 print writes 我泣聲, read on the 北海道大学 copy's leaf; so do the autograph, the 雑談集 of 1691 and of 1723 (我なく声, 我泣声), 潁原's 1932 apparatus (我泣こゑ, 我泣聲), the Meiji anthologies and the 1928 index. Every one of them is read waga naku koe; the が is the reading spelled out, as 陸奥鵆 spells it in kana and as the annotated editions of 1926, 1935 and 1936 and the scroll spell it. 動け / うごけ. The 1702 print and 淡々's first citation write 動け; the autograph, the 雑談集, 淡々's second citation at the grave, 梅丸's commentary and 潁原's two entries write うごけ or うこけ. 聲 / 声 / こゑ, は / ハ, and 秋の風 / あきの風, are writings. Shiki's copy of the verse into his 発句類題全集 (1889) and Buson's hand in the 1932 facsimile are the same text. There is no variant of sense; every witness disagrees on nothing but spelling. The meter is five, seven, five: つ・か・も・う・ご・け, わ・が・な・く・こ・え・は, あ・き・の・か・ぜ, with a six-syllable first line, which Fitzsimons marks 6-7-5. The four designs served for this text do not all brush the catalogue's form: three write 動け我が, and one writes 塚もうごけ / わが泣聲ハ / 秋の風, with うごけ and わが in kana and は as ハ, as the autograph writes them.

The sense. 梅丸 read it as the truest kind of verse, 眞の句, and set beside it a 古今集 poem in which a man weeping alone at night will not be outdone by the belling deer, and 元政's tears for 西行: grief that is louder than the season and becomes it [4]. Tantan 淡々 read it as the model of an offering, a verse so exactly fitted to its use that the master could offer it twice [5]. Shiki, in 1895, asked whether it grew from an old line, 如動古人墓, as if to move the old one's grave: 「我泣聲は秋の風」と一氣呵成に言ひ下したる處夷の思ふ所に匪ず, the way "my weeping voice is the autumn wind" is said in a single breath is beyond ordinary thought, and he set it beside Hitomaro 人麿's 妹が門見む靡け此山, bow down, you mountain, that I may see my love's gate, as the same brushwork [6]. Miyamori: what a violent outburst of grief; none but poets of Bashō's genius and sincerity can think of such impressive symbolism [7]. Blyth in 1949: With our violent grief nature itself is compassionate, and the tomb trembles in the autumn blast that is one with our sighing. The wind may blow, and we may weep in extreme anguish, but the grave will not move [8]; in 1952, an elegy like Lycidas or Adonais, which seems to have aroused in Bashō a state of mind in which utterly unrelated things are brought together, or rather, are seen connected in a fashion that strongly reminds us of ancient Hebrew poetry, with Psalm 29 beside it, the voice of the Lord shaketh the wilderness [9]; and in 1963, against Tennyson's In Memoriam, as the example of the animistic in haiku, a dead man is alive, as alive as the lifeless sun [10][11]. 志田義秀's commentary on the journal, printed in 1948, two years after his death, grants that it may seem a little caught by its season word and fallen into technique, 多少季題に囚はれて技巧に墮した感じがしないではない, but holds that a man who had come to meet a poet who had waited for him and found him dead needed exactly so strong an expression [12]. Ueda gathers the modern Japanese readers into one argument: Rika found the expression exaggerated for a man Bashō had never met, Watsuji too grand for a poem mourning Isshō and about human life at large, Seihō strong in its opening and weaker after it; Kamiya answered that Basho did feel he wanted the gravemound to move, Donto set it beside the Kokinshū preface's poetry that moves heaven and earth without force, and Yamamoto that twenty days of travel toward the man ended at his death, so we have no choice but to accept it as expressive of his true grief [13]. Shirane files it among the poems of the journey without comment beyond the date [14]. The page's note, that the cursive carries the grief, is a reading of the calligraphy, not of the text; the text's grief is in the imperative and the copula.

The words. 塚 is the grave-mound; も, too, even: the mound as well as the mourners is to be moved. 動け is the imperative, move, shake. 我が泣く聲 is my weeping voice; は marks it as the topic of the line that follows; 秋の風, the autumn wind, the season word. The syntax makes the voice the wind, not like it: my weeping voice is the autumn wind, and it is that wind that is asked to move the mound. As words the line says: Grave, move too: my crying voice is the wind of autumn.

The verse in English. Miyamori printed it in 1932 with Toyoda Minoru's rendering beside his own [7]; Blyth in 1942, 1949, 1952 and 1963 [15][8][9][10]; Henderson in 1958 [16]; Yuasa in 1966 [17]; Ueda in 1992 [13]; Keene in 1996 [18]; Shirane in 1998 [14]; Haldane in 2006 [19]; and Fitzsimons in 2022 [20].

The historical record

1689, the fifteenth to the twenty-second of the seventh month. Kanazawa, the memorial for Isshō. Sora 曾良's diary, as 殿田 quotes it: arrived from Takaoka on the fifteenth, lodging at 京や吉兵衛, word sent to 竹雀 and 一笑; 竹雀 and 牧童 came, and with them the news, 一笑去十二月六日死去ノ由, that 一笑 had died on the sixth of the twelfth month last. The gathering was on the twenty-second, and 殿田 published in 1955 a sheet in Bashō's hand, kept by Isshō's family in a box made for his hundredth memorial, which he judged written that day, and beside it on one mount a sheet in Sora's hand [1]. On the plate the autograph reads, a headnote in two short lines, 日比我を待ける人のみまかりけるつかにまうでゝ, visiting the grave of one who had waited for me and died, then つかもうこけ我泣聲ハ / 秋の風, signed はせを; Sora's sheet reads 一笑居士墓へまうで侍りけるに…, then 玉よそふ墓のかざしや竹の露, signed 曾良 [1]. The sheets' readings are mine from the halftone, and the first two characters of the headnote are uncertain.

1691. ノ松 (ed.), 西の雲, the memorial anthology. Its colophon is dated the tenth month of Genroku 4; it opens with 蕉翁's 塚も動け, then the mourning verses of the poets and a hundred of Isshō's own [21]; NIJL records eleven holdings and serves none as images [22]. Its preface, as 積翠 quotes it in the 1790s: 行年三十六、元祿初辰霜月六日かゝげたる沙草の塚に身は先達而消えぬ … 明けの秋風羅の翁行脚の序に訪ひ來ります、ぬしは去にし冬世を早うすと語る、あはれ年月我を待ちしとなん … 泣く〓〓墓にまうで追善の句をなし、囘向の袖しぼり給へり、遠近の人集ひ來り、席をならし、各悼二十餘句終りぬ, dead at thirty-six on the sixth of the eleventh month of Genroku 1 … the next autumn the old poet came by on his travels, was told the man had died the winter before, that he had waited for him through the years … went weeping to the grave, made the memorial verse and wrung his sleeves in prayer; people gathered from near and far, took their seats, and more than twenty verses of mourning were made; then Bashō's verse, and after it Sora's under 供して詣でけるに, going with him to the grave: 玉とそふ墓のかざしや竹の露 [23]. 潁原 gives the anthology's headnote for the verse as 途中吟 [24].

1691. Kikaku 其角, 雑談集. Compiled in 1691 and printed in 1691 or the year after [25]. The passage, read in the 1935 typeset: 一加州金澤の一笑は、ことに誹諧にふけりし者也。翁行脚の程、お宿申さんとて、遠く心ざしをはこびけるに、年有て重勞の床にうち臥しければ … 父の十三回にあたりて、歌仙の俳諧を十三巻孝養にとて思ひ立けるを … 八巻ことなく滿足して … 心から雪うつくしや西の雲 一笑 / 臨終正念と聞えけり。翌年の秋、翁も越の白根をはるかにへて、ノ松が家に其餘哀をとぶらひ申されけるよし / 塚もうごけ我泣ク聲は秋の風 翁, 一笑 of Kanazawa in Kaga was given to haikai above all; he meant to lodge the master on his travels and set his heart on it from far off, but fell gravely ill … for the thirteenth anniversary of his father's death he resolved on thirteen kasen as an offering … finished eight … and died in right mindfulness with the verse "from the heart: how beautiful the snow, the clouds in the west." The next autumn the master, having passed far by the white peaks of Koshi, came to ノ松's house to mourn him; then four more offerings, by 何處, 乙州, 牧童 and 雲口 [2]. The typeset prints 和州 for 加州. Isshō's death verse gave the memorial anthology its name.

1697. Tōrin 桃隣 (ed.), 陸奥鵆. Among Bashō's autumn verses, under 加州一笑墓に詣, visiting the grave of 一笑 of Kaga: 塚も動けわが泣く聲は秋の風 [3].

1702. Bashō, おくのほそ道, the 井筒屋 print. On the Kanazawa leaf: 大坂よりかよふ商人何處といふ者ありそれが旅宿を共にす / 一笑と云ものは此道にすける名のほのぼの聞えて世に知る人も侍りしに去年の冬早世したりとて其兄追善を催すに / 塚も動け我泣聲は秋の風 / ある草庵にいざなはれて / 秋涼し手毎にむけや瓜茄子 / 途中吟 / あかあかと日は難面もあきの風 [26].

1723. Tantan, 淡々雑談集, twice. First, as a citation: 奥の細道及ひ雑談集にも加賀の金沢一笑と云者早世しける追善に翁の句 塚も動け我なく声ハ秋の風とあり, in おくのほそ道 and in the 雑談集 too there is the master's verse for the memorial of one 一笑 of Kanazawa in Kaga, who died young; then the story of a basket-maker of 駿河府中, 籠作り九兵衛, whose grave the master was led to, where he wrote on a wooden tablet 塚もうこけ我泣声は秋の風 and offered it. The second use is a legend, told of a different dead man in a different province, and its only footing is this book [5].

Sora's notes in print, 1737 and 1775. 雪まろげ, Sora's record of the journey's verses, first printed in 1737 and again, edited, in 1775, carries the headnote 一笑追善 with no verse under it; the 1916 editor notes that the verse to stand there is 塚も動け [27]. 潁原 in 1947 reports the verse under 一笑追善 in Sora's notes (曾良書留), and under 加州一笑墓に詣 in 陸奥鵆 [28].

1782. 梅丸, 蕉翁發句茜堀, autumn book, a commentary. Under 加州一笑が墓に詣でゝ, visiting 一笑's grave in Kaga: 塚もうごけ我が泣く聲は秋の風 / 眞の句なり。一笑が俳諧に信厚きより此吟あり。其角が雜談集を讀まば此句の字々に魂のゆきわたれるをしらん, a true verse; because 一笑's faith in haikai was deep, this verse came; read 其角's 雑談集 and you will know how the soul runs through every character of this verse; then the 古今集 poem 秋なれば山響むまでなく鹿に我れおとらめや獨りぬる夜は and 元政's account of weeping for Saigyō 西行 on the 天龍 ferry, as the verse's kin. The headnote is 陸奥鵆's, nearly word for word [4][3].

1774, the 1790s, 1889. Chōmu 蝶夢's 芭蕉翁発句集; Sekisui 積翠's 芭蕉句選年考; Shiki's 発句類題全集. The verse in the eighteenth-century selection [29]; in 積翠's commentary under 加州一笑墓に詣, with the preface of 西の雲, the passage of the 雑談集 and 淡々's legend set out in turn [23]; and in Shiki's manuscript compilation of 1889 [30].

1890–1936. The anthologies and readers. 百家説林 (1890) [31], Shiki's 獺祭書屋俳話 (1895) [6], the 1896 是空俳話 [32], Ōtsuka 大塚's 1903 全集 (一笑追善 塚も動けわが泣聲は秋の風) [33], Andō 安藤's 1906 俳家逸話 with the grave story [34], Satō Kōroku 佐藤紅緑's 1906 作法 [35], Ōmachi Keigetsu 大町桂月's 文章大辞林 (1913, with furigana つかうごけ) [36], Shimada 島田 1927 [37], Katsumine 勝峯 1931 [38], Shida 志田 1926 [39], Hattori 服部 1932, who dates it Genroku 2 on the travel book alone [40], Fujii Shiei 藤井紫影's 1935 名家俳句集 with the legend in full [41], 西山 1936 (我が泣く聲はあきの風, and the gloss that the wind is the weeper) [42].

1928, 1932, 1947. The index and the apparatus. The 1928 俳諧全句索引 lists the verse under ツカモ from 類聚, 奧細, 陸奥 and more, all 塚もうごけ / 塚も動け我泣聲は秋の風 [43]. Ebara's 1932 校註 芭蕉俳句集 prints two entries: under the travel book's headnote, 塚もうごけ我泣こゑは秋の風 (奥の細道・泊船集), and under 途中吟, 塚もうごけ我泣聲は秋の風 (西の雲), with the note ○塚もうごけ——この句雜談集を參照すべし, for this verse see the 雑談集 [24]; his 1947 edition adds that it stands too in 陸奥鵆 and in Sora's notes [28].

The attribution. Bashō's, on the strongest footing a verse can have: it stands in his own travel book, with its occasion in his own prose [26], in a sheet in his hand [1], and in the two books of 1691, the memorial anthology edited by the dead man's brother and 其角's 雑談集 [21][23][2]. The travel book's headnote: 一笑と云ものは此道にすける名のほのぼの聞えて世に知る人も侍りしに去年の冬早世したりとて其兄追善を催すに, a man called 一笑, whose name for devotion to this art had reached even me and whom the world knew, had died young the winter before, and his elder brother held a memorial gathering; then the verse; then ある草庵にいざなはれて, invited to a hut, 秋涼し手毎にむけや瓜茄子, and 途中吟, on the road, あかあかと日は難面もあきの風. The date is the twenty-second day of the seventh month of Genroku 2, 5 September 1689, by Shirane's index, Fitzsimons's note and 志田 [14][20][12]. Where it was held the witnesses tell differently: the 雑談集 has Bashō mourn at ノ松's house [2]; 西の雲's preface and the autograph's headnote have him go to the grave [23][1]; Isshō's family temple, 願念寺 in 野町, Kanazawa, was identified in 1956 by 殿田 from its death register and a stone set up by the family [44], and Fitzsimons places the gathering there, where a stone now carries the verse [20]; the 1948 commentary under 志田's name, before that find, gives the grave to 成覺寺 [12]. The dead man was Isshō, a tea dealer of Kanazawa, 茶屋新七 [40], and, by the count of 一つ松 (1687), the most prolific poet of Kaga (Shirane, note 45) [14]. He died aged thirty-six, on the sixth day of the eleventh month of Genroku 1 by 西の雲's preface, 元祿初辰霜月六日 [23], as 志田 and 服部 give it, and Blyth, who writes the sixth of November [12][40][9]; or on the sixth of the twelfth month by Sora's diary [1] and by the temple's register, whose year 殿田 reads as a copyist's slip [44]. Miyamori gives the years 1652–1688, Fitzsimons 1653–88 [7][20]. The travel book was written in 1693–94 and printed in 1702, so the autograph and the two books of 1691 are the older witnesses and the book the poet's own.

What is not a source. His friend is no Japanese witness's word: the two had never met, and every early telling, the autograph's headnote first, says Isshō waited for him [1][23][2][20]; the English my friend is Yuasa's, in 1966 [17]. The basket-maker's grave and the tablet are Tantan's legend of 1723 and are told of nobody else before him. 1652 and 1653 for Isshō's birth are Miyamori's and Fitzsimons's, and they disagree [7][20].

The verse in English

1932. Asatarō Miyamori, An Anthology of Haiku Ancient and Modern, Maruzen, Tokyo, page 12, in the introduction. Haijin Isshō no Shi wo Itamu; Tsuka mo ugoke / Waga naku koe wa / Aki no kaze; In Sorrow for the Death of the Haijin Isshō; Oh, grave-mound, move! / My wailing is the autumn wind. Used as the book's example of the season word. Under the verse's own entry, page 177, he prints beside his rendering Toyoda Minoru's, Shake! O tomb! / The sound of my wailing / Is the wind of autumn! The note on Isshō, with his surname 小杉, his death year and his trade, is on page 336, under his own verses [7].

1942. R. H. Blyth, Zen in English Literature and Oriental Classics, Hokuseido Press, Tokyo, page 187. Another example is Basho's extraordinary poem on the death of Issho, a young poet. Shake, O tomb / My wailing voice / Is the autumn wind, set among the paradoxes that the mind takes in one gulp [15].

1949. R. H. Blyth, Haiku, volume 1, Eastern Culture, Hokuseido Press, pages 80 and 218. Shake, O grave! / My wailing voice / Is the autumn wind on page 80; on page 218, Shake, oh grave! / The autumn wind / Is the voice of my wailing, with the reading quoted above [8].

1952. R. H. Blyth, Haiku, volume 3, Summer-Autumn, Hokuseido Press, Tokyo, page 409, THE AUTUMN BREEZE. 塚も動け我泣く聲は秋の風 芭蕉; Tsuka mo ugoke waga naku koe wa aki no kaze; Shake, O tomb! / My weeping voice / Is the wind of autumn. With the paragraphs quoted above [9].

1958. Harold G. Henderson, An Introduction to Haiku, Doubleday Anchor. Headed At the Grave of His Pupil Isshō, dated 1688: Grave mound, shake too! / My wailing voice— / the autumn wind [16].

1963, 1994. R. H. Blyth, A History of Haiku, volume 1, page 24; The Genius of Haiku, page 78. The 1952 rendering again, also on the death of someone he knew, against Tennyson [10][11].

1966. Nobuyuki Yuasa, The Narrow Road to the Deep North, Penguin, page 133. Move, if you can hear, / Silent mound of my friend, / My wails and the answering / Roar of autumn wind [17].

1992. Makoto Ueda, Bashō and His Interpreters, Stanford, pages 262–263. move the gravemound! / my wailing voice, / the autumn wind, with a word-for-word gloss, a note and ten Japanese commentators [13].

1996. Donald Keene, The Narrow Road to Oku, Kodansha International, page 139. Shake your tomb, reply! / My voice that weeps for you / Is the autumn wind [18].

1998. Haruo Shirane, Traces of Dreams, Stanford, note 46 to chapter 8. Grave mound, move too! my weeping voice is the autumn wind, with the date in the index [14].

2006. Michael Haldane, in Bashō and the Haikuists, Delphi Classics, 2022. … shake your tomb! / my weeping voice …, with the romaji [19].

2022. Andrew Fitzsimons, Bashō: The Complete Haiku of Matsuo Bashō, University of California Press, no. 548. Arouse the gravemound too / the wail of my grief-filled cry / the wind in autumn; Autumn, 1689; the note on 一笑, the memorial at 願念寺 and the stone [20].

Today. A rendering has one thing to keep: the mound is told to move too, and the voice does not resemble the wind, it is the wind. Of the renderings above, Henderson's, Shirane's and Fitzsimons's keep the too.

A reading

I read the verse as its first tellings frame it: a poet arrives to meet a man who had waited years to receive him, learns on the day he comes that he has been dead since winter, and a week later stands at his grave among his friends. What he says is an order to the grave and an identification of his own voice with the season, and the two are one gesture: if the voice is the wind, the wind can move the mound. 梅丸's kin are right, the belling deer and the tears on the ferry; Blyth's Psalm is righter, and Shiki's Hitomaro, the mountain told to bow, is the nearest of all. The charge of excess the modern readers raise rests on the two men never having met; the tellings answer it, for the grief is for a waiting that ended at the grave. The scroll's が is the readers' spelling of what every witness reads and is a fair choice for a stranger's eye.

References

  1. 殿田良作 Tonoda Ryōsaku「「塚も動け」の眞蹟及び「早稻の香」の句について」『連歌俳諧研究』10, 1955, pp. 35–37 (the plate p. 37). https://doi.org/10.11180/haibun1951.1955.35
  2. 其角 Kikaku『雑談集』, in 勝峯晋風 編『俳人其角全集』第1巻, 1935, pp. 207–208. National Diet Library pid 1235688, scans 140–141. https://dl.ndl.go.jp/pid/1235688/1/140
  3. 天野桃隣 Amano Tōrin 編『陸奥鵆』, 元禄一〇 (1697) colophon, in the 1916 typeset 『陸奥千鳥』. National Diet Library pid 953369, scan 9. https://dl.ndl.go.jp/pid/953369/1/9
  4. 梅丸『蕉翁發句茜堀』, 天明二 (1782) preface, in 『俳諧註釈集』, 1912 typeset, p. 53. National Diet Library pid 950162, scan 40. https://dl.ndl.go.jp/pid/950162/1/40
  5. 半時庵淡々 Tantan『淡々雑談集』, 1723. National Diet Library pid 2533380, scan 44. https://dl.ndl.go.jp/pid/2533380/1/44
  6. 正岡子規 Masaoka Shiki『獺祭書屋俳話』, 1895, scan 52 (National Diet Library pid 875217); the 1902 edition, scan 57 (pid 875218). https://dl.ndl.go.jp/pid/875218/1/57
  7. Asatarō Miyamori, An Anthology of Haiku Ancient and Modern, Maruzen, Tokyo, 1932, pp. 12, 177 (no. 72) and 336.
  8. R. H. Blyth, Haiku, vol. 1, Eastern Culture, Hokuseido Press, Tokyo, 1949, pp. 80 and 218.
  9. R. H. Blyth, Haiku, vol. 3, Summer-Autumn, Hokuseido Press, Tokyo, 1952, p. 409.
  10. R. H. Blyth, A History of Haiku, vol. 1, Hokuseido Press, Tokyo, 1963, p. 24.
  11. R. H. Blyth, The Genius of Haiku, 1994, p. 78.
  12. 志田義秀 Shida Gishū 註釈『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), scans 88–90. National Diet Library pid 1704037. https://dl.ndl.go.jp/pid/1704037/1/88
  13. Makoto Ueda, Bashō and His Interpreters, Stanford University Press, 1992, pp. 262–263.
  14. Haruo Shirane, Traces of Dreams, Stanford University Press, 1998, note 46 to ch. 8, index p. 360.
  15. R. H. Blyth, Zen in English Literature and Oriental Classics, Hokuseido Press, Tokyo, 1942, p. 187.
  16. Harold G. Henderson, An Introduction to Haiku, Doubleday Anchor, 1958, p. 39.
  17. Nobuyuki Yuasa, The Narrow Road to the Deep North and Other Travel Sketches, Penguin, 1966, p. 133.
  18. Donald Keene, The Narrow Road to Oku, Kodansha International, 1996, p. 139.
  19. Michael Haldane, in Bashō and the Haikuists, Delphi Classics, collected 2022 (rendering first published 2006).
  20. Andrew Fitzsimons, Bashō: The Complete Haiku of Matsuo Bashō, University of California Press, 2022, no. 548.
  21. 石川県図書館協会 編『加越能古俳書解題』, 1930, the entry 西の雲. National Diet Library pid 1191116, scan 16. https://dl.ndl.go.jp/pid/1191116/1/16
  22. 丿松 編『西の雲』, memorial anthology, 元禄四 (1691) colophon. NIJL WID 1531755.
  23. 石河積翠 Ishiko Sekisui『芭蕉句選年考』(寛政年間), 大野洒竹・沼波瓊音 校訂, 1911 typeset, 下. National Diet Library pid 991655, scans 127–128. https://dl.ndl.go.jp/pid/991655/1/127
  24. 潁原退蔵 Ebara Taizō 校註『校註 芭蕉俳句集』, 1932, p. 113. National Diet Library pid 1170439, scan 64. https://dl.ndl.go.jp/pid/1170439/1/64
  25. 其角 Kikaku『雑談集』, 1691. NIJL WID 5049; kotobank, 雑談集 (デジタル大辞泉: 元禄4年成立、翌年刊). https://kotobank.jp/word/雑談集
  26. 松尾芭蕉『おくのほそ道』, 井筒屋 print, 1702. NIJL 国書データベース WID 15725, BID 100000092, canvas 45. https://kokusho.nijl.ac.jp/biblio/100000092/manifest
  27. 河合曽良 Kawai Sora 編『雪まろげ 附・奥の細道』, 1916 typeset of the 文政 issue, with the editor's notes on the 元文 (1737) and 安永 (1775) prints. National Diet Library pid 953370, scans 28, 44 and 52. https://dl.ndl.go.jp/pid/953370/1/28
  28. 潁原退蔵 Ebara Taizō 編著『新校芭蕉俳句全集』, 1947. National Diet Library pid 1128353, scan 77. https://dl.ndl.go.jp/pid/1128353/1/77
  29. 蝶夢 Chōmu『芭蕉翁発句集』, 1774. National Diet Library pid 2540314.
  30. 正岡子規 写『発句類題全集』, 1889. National Diet Library pid 2586451, scan 16.
  31. 『百家説林』, 1890. National Diet Library pid 993393, scan 232.
  32. 『是空俳話』, 1896. National Diet Library pid 875193, scan 20.
  33. 大塚甲山 Ōtsuka Kōzan 編『芭蕉俳句全集』, 1903. National Diet Library pid 875661, scan 64.
  34. 安藤 Andō Wafū 編『俳家逸話』, 1906. National Diet Library pid 875446, scan 119.
  35. 佐藤紅緑 Satō Kōroku『俳句の作法』, 1906. National Diet Library pid 875594, scan 51.
  36. 大町桂月 Ōmachi Keigetsu『文章大辞林』, 1913. National Diet Library pid 951697, scan 138.
  37. 島田青峰 Shimada Seihō 編『芭蕉俳句紀行全集』, 1927. National Diet Library pid 1194541, scan 48.
  38. 勝峯晋風 Katsumine Shinpū 編『新編芭蕉一代集』連句篇 下・句評篇・紀行, 1931. National Diet Library pid 1190045, scan 94. https://dl.ndl.go.jp/pid/1190045/1/94
  39. 志田義秀 Shida Gishū 編『俳文学選』, 明治書院, 1926. National Diet Library pid 947714, scans 60–62. https://dl.ndl.go.jp/pid/947714
  40. 服部畊石 Hattori Kōseki『芭蕉句集新講』上巻, 1932, p. 475. National Diet Library pid 1145820, scan 243. https://dl.ndl.go.jp/pid/1145820/1/243
  41. 藤井紫影 Fujii Shiei 校『名家俳句集』, 有朋堂, 1935. National Diet Library pid 1259717, scans 86 and 404. https://dl.ndl.go.jp/pid/1259717
  42. 西山隆二『受験奥の細道・鶉衣』, 玄鹿洞書院, 1936. National Diet Library pid 1275207, scans 55–57. https://dl.ndl.go.jp/pid/1275207
  43. 『俳諧全句索引』, 日本俳書大系刊行会, 1928. National Diet Library pid 1179400, scan 190.
  44. 殿田良作 Tonoda Ryōsaku「小杉一笑の菩提寺」『連歌俳諧研究』12, 1956, p. 69. https://doi.org/10.11180/haibun1951.1956.12_69

Authors

Tim Jackowski (Systems Architect, Takase Studios, LLC) · 典 Ten (Anthropic Claude Fable 5.1, Takase Studios, LLC)

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

Checked · grok-4.6 (xAI), 2026-09-06, citations · Claude Sonnet (Anthropic), 2026-09-14, citations — one rendering added — Henderson's 1958 translation, wrongly said absent; one page citation corrected — Shirane's index page corrected to its true printed page; several page images supplied

Cite as: Tim Jackowski and Ten, "Philology of 塚も動け我が泣聲は秋の風 (tsuka mo ugoke waga naku koe wa aki no kaze)," Takase Studios, 2026, https://takase.com/library/philology/tsuka-mo-ugoke-waga-naku-koe-wa-aki-no-kaze.