ドラマ。

A while ago at tea class I had an idea for a manga about tea ceremony: 茶室ドラマ ("chashitsu DORAMA")—Tearoom Drama. Or something. It's about all the horrors that can befall you when you're hosting or guesting at tea—you drop the bowl, you accidentally hit the chashaku with your sleeve and catapult it at a guest, you realize only when you open the natsume for the first bowl of tea that you neglected to fill it with matcha, etc. So now we joke about that when any little thing goes wrong, like when someone misjudges position and ends up in seiza too far from the ro to comfortably (or non-awkwardly) reach the tetsubin, or when after wiping a bowl or two the chakin becomes hopelessly misshapen. It's a cha-tastrophe. It's cha-toclysmic. It's a cha-bacle. ドラマ! Not sure silliness is part of traditional tea lessons, but it makes us laugh.

今朝茶の湯のお稽古 (Tea!)

Beautiful tea class today. Sunshine, blue sky, cool breeze, many visitors at Shofuso. We were doing 薄茶　(usucha, thin/weak tea), so as sweets we had delicious wafer-like cookies called (I think) zenbei*, with a maple-y flavor and a little outline of a ginkgo leaf on each. We had class in the larger room (書院, 15 mats), rather than in the 4.5-mat 茶室, so I had to recalibrate my walking a bit; went well pretty overall, but I need to practice more over the week so I can be more confident in the flow, especially in お仕舞い (oshimai, closing). My ankle injury made even more clear the contrast between 正座 (seiza, "sitting correctly") and 安座 (anza, "sitting comfortably")—there was no 安 whatsoever in my 正.

The first guest (正客, shoukyaku) really has to be on the ball throughout the event, because, aside from the scripted formalities, the other guests are rarely allowed to speak. After each bowl is returned from the guest to the host and rinsed out, the first guest has to signal to the host whether to make another bowl, to make him-/herself a bowl, or to move on to the closing-up (お仕舞い) activities. The phrase for making a bowl of tea for oneself, when asked to, is one that (I think) is used only in this context: 御自服 (gojifuku, honorific–self–powder/tea). We call it "playing the gojifuku card". Maybe it's just a way of being thoughtful, or maybe it was a way for your enemy, whom you've invited to a formal tea meeting and who now suspects you've just poisoned them with matcha, to make you do the same to yourself. I wonder whether there's a protocol for refusing.

*When I was trying to confirm the word 先生 used for the sweets, Google helpfully suggested I meant "Japanese tea sweet zombie". A few more zenbei, and I could turn into one of those!) 

Tobira, Genki, and new resources for students.

日本語のレッスン this evening—yay!—so last night I was rereading the current chapter in the Tobira textbook (上級へのとびら, Gateway to Advanced Japanese), which is the third book we've worked with, after the two Genki (元気) books. Tobira is a pretty big step up from even Genki 2; Genki seems designed for foreign students studying in Japan—先生 said it's probably for Korean students specifically—so it tends to focus on issues (such as majors and host families) that pertain to students more directly than to ancients such as I. Its vocab* is pretty basic and its usage generally normal–polite, and although it covers a good deal of grammar the sentences tend to max out at compound.* Tobira expects much more of the reader; it includes very little English in most areas, more kanji, and much longer and more syntactically and semantically complex sentences. So, Tobira can be frustrating sometimes, at least for me.

For example, a passage I was reading last night on basic speech styles (plain, polite, etc.) includes an (apparently literary) style it calls である体, the "de aru" form. In parentheses it labels this as the "expository" form, but it seems not to explain what it means by "expository", or who or what is being exposed to what or whom and in what context. I've seen this form in essays and literature, so I think I pretty much get it, but it's difficult to be sure.** OK, granted, this isn't a big deal, and overall the book is terrific; but from time to time I do want to (respectfully) wing it across the room. 扉 >> 飛びら。 飛び扉。

でも、頑張りましょうね。

Anyway, today there's good news on the learning-resources front. I've been thinking for a while of coding a quiz app for the Tobira (and other) vocab, like the very helpful one that Usagi-chan made for Genki, but I've been short on time; today I thought maybe I'd try to contact her and, instead of reinventing the wheel, ask for the existing code (and permission to use it) and just populate it with the Tobira content. Still haven't decided on that, but while surfing around about it I discovered this useful page of resources for students of Japanese, which in turn led me to this amazing page of links. Much fun stuff to explore! I also like to flip through 朝日毎日新聞, Goo, and Yahoo.co.jp. (I dutifully read the news and culture stories, but I admit I find the horoscopes and personal ads more fun. I'm still looking for a good online source for daily manga, puzzles, etc.) I've also been trying to get away from "crutches" like the plug-in Rikaichan, which are immensely helpful but which sometimes make things too easy. Tough to find a middle ground between looking up 30-some kanji per page, by radicals (as with a paper novel), and skating over unknown kanji online with a quick pop-up, without taking the time to look at the kanji carefully and get used to them.

*Genki's approach to vocabulary is (from my POV) ちょっと可笑しい; I'm all for situational vocabulary units, but the groupings in Genki tend (1) to be not quite as thorough as one might hope for that context (eg, some airport words, but not all you'll need for that experience) and (2) sometimes to seem random (eg, learning how to express having been regrettably groped in the subway, or how to inform the police about a burglary, before you officially learn tree or socks. What if someone steals your socks?). 

**Reminds me of how, when I was learning French in school, my teachers told us we didn't need to learn the passé simple tense, as it was "a literary tense" that we'd never encounter in real life. Probably a reasonable approach for most students, but of course I ended up as a French lit major in college and then grad school. Mais c'est la vie, quoi. しょうがないですね。(「仕方はありません」と言うこともありますかなぁ。Googleでhitsが263千つ（？）あります。「為さい片は御座いません」。。。。へへへ。)

落葉両三片 (two or three fallen leaves).

A friend from Tea class asked for help reading a set of shikishi she bought a while ago, written by a notable Zen monk, and 習字の先生 was kind enough to help me figure them out. Some of them are pretty standard stuff, like 寿 (kotobuki, longevity / good fortune / auspiciosity of various kinds), or 福 (fuku, good fortune), but a few have really stuck with me.

One that I've been thinking of today is 落葉両三片 (rakuyou ryou-san hen), "two or three fallen leaves", an appealingly haunting image that on the shikishi is backed with sumi-e of leaves and pine needles. I've been nosing around online, and it seems this is from a longer phrase that's often written in a Zen context:

西風一陣来落葉両三片
seifuu ichijin (kitaru, kitarite),
rakuyou (ochiba) ryou-san hen

(depending on how you read 来)
a gust of the west wind comes;
two or three fallen leaves
(or)
two or three fallen leaves(,)
come on the west wind

Online sources relate this to both Zen and 茶の湯 (Tea). One says it was written by 千利休, Rikyuu, the great(est) Tea master, to commemorate his son—questions about both Rikyuu's death and his succession are well worth exploring—but I haven't found anything else to corroborate. A published translation of anecdotes about four Chinese Zen masters who lived in "turbulent times" gives a totally different view, attributing it to Gujin (13th century), in a moment of either humor or anger:

Gulin said, "In the scriptural teachings it says that if a single person generates true intent and returns to the origin, then all of space in the ten directions crumbles away. The ancestral teachers of Zen said that if there is a single person who generates true intent and returns to the origin, then he bumps into [the ultimate] at every turn.

"Here at Kaiyuan Temple I have a living road that I will walk along with all of you."

Then Gulin slapped the meditation bench and said, "One gust of the west wind, two or three pounds of fallen leaves."

(The teacher presents the teaching in a public forum[;] a handful of people in the audience are reached.)

(source)

(片＝pounds, rather than individual leaves?)

Other mentions see in it profound loss, associating the west wind with both death and impending rain—apparently it's considered a September thought (禅語)—and, in a Zen context, an opportunity to (re)consider one's character and life choices and make changes. I prefer the more melancholy interpretations (as I am a generally melancholic guy). Reminds me of a four-kanji set I practiced in 習字　a while ago, 秋物感人—autumn makes people contemplative.

Seems this one is sometimes written just as the first half (西風一陣来), rather than, as in the shikishi, the second; but below is an example of the second half:

(source)

Interesting that 両 is written with just one horizontal and the vertical cutting through, rather than (what I think of as) the usual 行書 style of 冂.

懐 (what one keeps in one's bosom).

In 習字 I'm working on a really interesting two-kanji set, 澄懐 (CHOU-KAI). Chou (sumu, sumasu, etc.) is about clarity, lucidity; kai is (in a superficial way) about the heart, bosom, interior. So 澄懐 is an appealing set of characters about inner clarity. Apparently there's an art museum called 澄懐堂 (chou-kai-dou) in Mie Prefecture that specializes in Chinese calligraphy.


Chou is notable for its inclusion of 豆, a fascinating radical that's turned out to be a real rabbit hole to pursue because it appears in some 60 kanji, with a range of sounds and meanings (almost none of which relate to beans, although several groups relate to smallness associated with beans). (Admittedly, I really wanted to try writing the 発 radical (癶, the "dotted tent" radical, which fascinates me).


Kai is particularly interesting to me at the moment because it's associated not just with "heart" or "feelings" in a general sense—though, to be sure, its radical is 心—but more specifically with the custom of tucking things into a kimono at the center front, just over the obi. For example, in tea class we keep a little roll of papers handy for sweets, etc.; these are called 懐紙 (KAISHI), literally kai + kami (紙, paper), and when not in use they're kept tucked into the cross-fold of the kimono at front center, right above the obi. So, this kai seems to combine 心 (kokoro—heart, feelings) and 衣 (koromo—clothes or garments), for a larger sense of anything tucked in next to the heart. Not surprising, then, that 懐 has associated meanings not only of "pocket", but also of becoming attached to someone, or yearning for or missing someone. (Reminds me of that time I forgot my kaishi! How I yearned for them!) Henshall says the tsukuri of 懐 means to carry (specifically, in the sleeve—vs by the heart?).

Weirdly enough, if we swap out the heart for earth (土) we get kowasu/kowareru (壊), to break or be broken. Henshall posits that in this case the "carrying" tsukuri is used only for its phonetic value and that the sense is of breaking down/through earthen ramparts.

I wonder whether that right-hand side appears alone or in anything else. Looks like there are older NGU variants (懷 and 壞) but nothing else that really matches up.

位 (on the enumeration of spectres).

Chuckling about the kanji 位 (くらい　kurai, イ　I). It seems pretty standard; it's ninben (person) plus tatsu (standing or building), and it carries meanings of rank and hierarchy -- thrones, crowns, decimal places, social standing, grades, tiers, etc. What gets me is its other function: the counting particle used for spirits of the dead! That's funny superficially -- "How many ghosts, exactly?" -- but it also raises an interesting point about counters. Are ghosts people (nin)? If not, then what are they? Would referring to them as つ offend them? And how would one enumerate, say, the ghosts of animals? Or fish? What if you wanted to talk (poetically) about the ghost of an era or a song?

Reminds me of something I read somewhere, years ago, about someone's (perhaps facetiously) expressing humility by using the 匹 counter (hiki, for small animals) to refer to himself -- "I am but one small animal!" Suggests an entire range of expressive possibilities that aren't available in languages that lack counting particles.

美豚? Pun fun!

Work's been so busy lately that I've barely had time to think, so everything I try to post gets stuck in draft mode! But I want to share a neat pun that we're enjoying today at work.


A colleague is wearing this:

He'd been told it was a pun but had no idea what it meant. I got that the kanji were 美しい and 豚 ("beautiful pig") but, though the pig certainly is comely, I couldn't figure how it was a pun. I thought it must have something to do with the on'yomi, the Chinese readings—as puns probably often do, since a single 音 reading can be shared by many kanji and have many meanings. 豚 was probably トン (TON) or ドン (DON); 美 maybe ミ (MI) or ビ (BI). But...huh?

Finally, a fashion-conscious colleague pointed out that that pattern on the beautiful pig is classic to a specific designer—Louis Vuitton. So that's it: 美豚, ビトン, BI-TON, the Japanese pronunciation of "Vuitton".


Google searching suggests that that pun is big in Japan. So, I'm a little slow on the uptake, but now we're all cracking up about it. And I require that shirt!

Sounds, meanings, kanji (元・本, gen/hon/moto).

Last night in 日本語の授業 we were going through the section 「相槌とフィラー」 from the とびら textbook, about the various conversational sounds and phrases that demonstrate that the listener is engaged and paying attention, or that express surprise, disbelief, etc. The phrase 自然 ("natural") kept coming up, as in 自然に話せるため。。。。 So I've been thinking about "shizen", and in particular about the kanji 然, "zen". Together, the kanji equate to something like "self-like", so that makes sense as "natural" and is reminiscent of many combinations with 元 and 本 (GEN, HON, moto, and other phonetically related kanji) that seem to imply "getting at the root" of something, or basic/original truth. 例えば。。。。

元気 genki, "original spirit" (health, vitality, etc.)
元素 genso, a chemical element (in which both kanji have meanings of origin)
元治 genji, origin
元手 gende, motode, capital, the basic funding one starts with

元日・元旦 genjitsu (gennichi)/gentan, New Year's Day
元年 gennen, first year of a reign
元来（に）・元は genrai (ni), moto ha, primarily, originally
元祖 genso, founder or originator ("root parent"? 租 also carries the kun'yomi おや, like 親さん)
本意・本音, hon'i/honne, one's true motive or intent
本気 honki, seriousness or truth
本家 main family, birthplace, originator
本土 hondo, one's home country
本部 honbu, headquarters
本義 hongi, true meaning
本字 honji, original (unsimplified) kanji
本当・ 本當・ 本真 honto(u)/honto(u)/honma, truth or reality
本館 honkan, main building
本質 honshitsu, essential nature
本心 honshin, one's true feelings
本体 hontai, substance or real form
基・素・ moto, origin, source, basis, foundation, cause
元々・本々 motomoto/motomoto, originally, by its nature

Etc., etc. I'm sure some of these are used much more frequently than others, but they're all worth considering. This is a part of Japanese that I really enjoy: the often imperfect fit between phonetics (kun'yomi & on'yomi) and semantics. It seems that when kanji traveled to Japan and began to "take root", the Chinese "HON" and "GEN" sounds, associated with roots and origins, mingled with indigenous Japanese "moto", resulting in a kind of instability in both sounds and kanji (eg, gende/motode; 本々・元々). I guess the only way to navigate it all is to immerse and listen to people's usage.

(Perhaps coincidentally, that's also my favorite part of the legal system: laws as written almost never exactly fit the situation in question, so the legal system exists to resolve the discrepancies as far as possible and decide on a plan.)

Hyakunin Isshu again, and utagaruta.

After tea class today, Sさん was kind enough to drive me home. Turns out she's interested in 百人一首 (hyakunin isshu), collections (or, one collection in particular) of "100 people, 1 poem (each)". I learned a bit about it from 習字の先生 a few months ago and find it fascinating. And...Sさん has an app for it! Seems there are quite a few, actually, in English and Japanese and both. Looking forward to learning more. Sさん and I agreed that one day we'll play 歌がルタ (utagaruta) together, the card game in which you choose the second part of a famous poem (eg, from the Hyakunin Isshu) to match the sung or intoned first part, as fast as you can. Looks like there's a DS app for karuta:

And here's karuta at school:

It would take me years to actually be able to play that, but what a fun thing to learn! Sさん's app for 百人一首 also has the vocal track; I wonder how the singers learn to sing it.

Don't cha-no-yu from somewhere?

Beautiful Saturday morning to be back in tea class. It's been months—well, before last week—and I have an ankle injury, so my ryakubon was shaky at best. But everyone was patient, and we got through it. I need to practice a lot more before next time so my movements will be more fluid—ie, we can work on details rather than what comes next—and my fukusa will feel less inclined to fight me. I will say, though, that on the three bowls of tea I made I managed a pretty good froth. Usually my wrist tires, but not so much today.

I took along the kimono I bought at least year's 桜祭り here in Philly, a pleasant brown on the outside with a very fine black geometric pattern, almost Greek, and a royal blue inner lining. Subtle enough for tea. The group advised that I find an obi with gold threads would go well with it, so I'll have to look for one. Also, it turns out some of the sizing is off; it's a bit short for me, and a bit narrow for tea, and maybe the arms are a little short. Fortunately, we have a stitcher in the group who's worked on kimono before; she found within the lining all the extra fabric we'll need. So, yay. Chanoyu happy dance (which of course is done entirely in the heart, while externally one remains entirely calm)! Also still need other items (tabi, himo, juban, etc.).

I feel a little presumptuous, being such a beginner student and having a kimono. But, even at my low level, I can tell that some of the movements are what they are precisely because one is wearing a kimono—particularly, arms (sleeves) and knees—so maybe some things will feel more natural if I practice in appropriate clothing. Strange that the kimono process is so different between men and women: women's kimono require a much more complex infrastructure than do men's, which are put on pretty much exactly as you'd expect.

Winter tanka! (pt 2)

冬山に　来つつ　しづけき心なり。　われひとり　出でて　踏む　道の霜
釈迢空 ORIKUCHI shinobu, a.k.a. shaku-chou-kuu (1887–1953)
fuyuyama ni kitatsutsu　
shizukeki kokoro nari.　
ware hitori　　idete　
fumu　
michi no shimo
arriving at the wintry mountain brings peace to my heart; I've come alone, and I step—into the road's frost
(The spacing isn't usual but reflects the formatting on the page, which must be mirroring how someone wrote it at some point. In fact, the last line is on the next page.)

松毬もおつるかぎり落ちはててこの冬の日に音一つなき
吉植庄亮　YOSHIUE shouryou (1884–1958)
matsukasa mo
otsuru kagiri (ni?)
ochihatete
kono fuyu no hi ni
oto hitotsu naki
the pinecone, too, reaches its time and drops from the tree; on this winter day, sound of a single cry
The award for weird kanji of the day goes to 毬. I don't think I'd ever seen けへん (?) before. I'm guessing おつる is related to おちる/おとす, to fall (or drop). The second line is all in kana, but the meter seems off; is it possible there should be a に ("限りに", at the limit)? はてる is interesting; there's a real sense of "at the absolute end". (Cf. Miyuki Nakajima: "涙もかれ果てて", having completely run out of tears. I've nosed around for more examples of "ochihateru", but aside from an adult comic I'm not finding much.)

夕寒く土間の鷄らのかえりつつ竈の榾火は燃えとろみ居り
吉植庄亮　YOSHIUE shouryou (1884–1958)
yoru samuku
doma no torira no
kaeritsutsu
kudo no hodabi wa
moetoromi ori/iri
in the night's cold—as the chickens come home to the dirt-floored house—the kindling burns down in the hearth
I'm guessing ら is pluralizing 鶏. "Doma" is a little strange, but per image search it seems to mean not just the floor, but a dirt-floored building, so maybe we're talking about chickens that belong to that house—土間の鶏の帰り. Or maybe not! Not sure what to do with 燃えとろみ; it seems to be nominal and be about burning (燃える), but the second half—a combination with とる, maybe?

炬燵して寒きをいとへ窓の下の蓮田の枯葉けふもしぐるる
中村憲吉 NAKAMURA kenkichi (1889–1934)
kotatsu shite
samuki o itoe
mado no (shita?) no
hasuda(?) no kareha
kyou mo shigururu
staving off the cold with the brazier; withered leaves in the hibiscus (or lotus) patch under (outside) the window. today, again, winter rain
(I'm taking いとえ as a form of 厭う/厭える, which may be off the wall but makes sense with炬燵 and 寒き. Not sure about まどのしたの because it's off meter. I'm just guessing at はすだ, but I feel OK about it because there's a city by that name in Saitama—so, at least the word exists with those kanji. して here seems to have the sense of で/を使って, rather than する, per Shirane §12.9.)

2011 earthquake data, condensed.

I can't embed it because Google is having an identity crisis, so here it is.

Assuming this is based on valid data, etc., I concur with a YouTube commentator: Dam nature, you scary.

Hokusai prints lost at sea?!

Seems there was, aboard the recently-capsized Costa Concordia, a collection of woodblock prints by KATSUSHIKA Hokusai (葛飾北斎).　残念ですね！Apparently they were in a spa that seems to have been on the Spagna deck, third deck down, fore, probably on the port side; not sure whether that part of the ship is actually underwater, but since the ship is submerged on the starboard side, maybe there's hope.

Hokusai (1760–1849) was from Edo and, although he's probably best known for his 36 Views of Mount Fuji (of which in fact there are 46, plus another set of 100), his Great Wave of Kanagawa has in the Occident become iconic and emblematic of woodblock as an art form:

Addendum: Looks like it's worse than I'd thought! The collection included not only twelve works by Hokusai, but also three by Utamaro and one by the very mysterious Sharaku. Here's hoping neither the water nor looters will get at them.

Winter tanka! (pt 1)

Snow today in Philadelphia—perfect timing to get back to trying to choose 短歌 to write for winter. Fun, because among the possibilities there are always new thoughts, new kanji, new grammatical structures, new images, etc. I'm working with some pages of tanka that 先生 was kind enough to give us. じゃ、習字の日本語が読めない友達も詞を選べるために訳してみましょう！

(I take no responsibility for my attempts at translation below; some of the kanji, grammar, and kanji usage are pre-modern, so it's difficult, and even if they weren't I'd make no guarantees. I try to make the metrics work—57577—but it's not always obvious. でも、頑張りましょうね。)

I'll keep working with them and update these if I can find any more insights. 難しいなぁ。。。。

(Also, the new Blogger interface is weird about line breaks, so, apologies if they're wrong.)

*****
冬ごもの畑（はたけ）に、病の床のガラス戸の曇りぬぐへば足袋干せる見ゆ
正岡子規 MASAOKA shiki (1867–1902)
fuyu gomoru yamai no toko no garasu to no kumori nugueba tabi hoseru miyu
winter confinement—wiping the clouds (or mist, or frost) 
from the sickbed's glass door—seeing tabi hung out to dry

*****
木の芽さく、うしろの畑に、霜見えて、けさは身にしむ、山鳩のこゑ
与謝野鉄幹 YOSANO tekkan (1873–1935)
ki no me saku, ushiro no hatake ni, shimo miete, kesa wa mi ni shimu, yamabato no koe
(Check out the amazing monument to him at Bicchuu Matsuyama Castle.) 
looking at the frost on the tree's buds in the back field, 
wrapped up, this morning; voice of a turtledove
(I'm making a guess at けさはみにしむ; けさ could probably also be "this morning", but a song lyric comes to me: 「闇を抱きしめる」, with "shimeru" as a kind of "wrapping oneself in", which kinda works with the cloak けさ/かさや. There also may be an image of frost blooming さく, but I can't identify the kanji after 木の. Something with 草冠, suggesting a plant connection. Addendum: Updated per tibonchina's help. Beyond my misunderstandings, I'd completely missed a phrase! Still not sure about 身にしむ.)


*****
みづうみの氷は解けてなほ寒し三日月の影波にうつろふ
島赤彦 SHIMAKI akahiko (1876–1926)
ノート: 諏訪湖畔 (by Lake Suwa, Nagano)
mizuumi no
koori ha tokete
naho samushi
mikazuki no kage
nami ni utsurou
the ice on the lake is breaking up, but the chill continues; 
the crescent moon's light changes on the waves
(I'm being inconsistent with the transcriptions, I know. I'm taking なほ as なう, probably erroneously, but it seems to work in this context.) 

*****
雪降れば山よりくだる小鳥おほし障子の外にひねもす聞ゆ
島木赤彦 SHIMAKI akahiko (1876–1926)
yuki fureba
yama yori kudaru 
kotori o hoshi
shouji no soto(?) ni 
hinemosu kiyu
as the snow falls, all day i hear, outside the shouji screens,  
many little birds, come down from the mountain
(I don't understand the image of dried shouji, but otherwise why ほし? Reminds me of a 茶の湯 friend's story that when she was a kid, whenever her mother was about to replace the shouji screens, she and her sister got to punch through all the paper. Also, I keep thinking that the image should be the voice of the bird coming down from the mountain, but I can't justify that from the poem. Addendum: ほし＝多い. I'll have to revisit the meter when I know more [ie, anything] about classical forms.)

*****
眸にしみる暮れしばかりの冬空のあいいろにして月繊くなり
金子薫園 KANEKO kun'en (1896-1951)
me ni shimiru kureshi bakari no fuyuzora no aiiro ni shite tsuki hosoku ari
the sky is turning a winter-sky-just-past-sunset indigo that penetrates the eye; thin moon


I have a bunch more typed out but still need to figure them out to the minimal level.

Miscellany:
- "hoshi" (star) is police slang for a suspect
- the kanji for "shouji" (paper screens) are "hinder" and "child" (障子—or, "hurt" and "child"! 当て字かも知れません。)

You scoop tea *how*?!

Another article I was reading, from Japan Quarterly, recounted a visit to the Midorikai tea intensive (for non–Japanese people) in Kyouto. It's a fun read that also gives an overview of tea, the Sen family, and the Urasenke school and includes interviews with some of the students. One student offered the following remarkable anecdote "that illustrates how chanoyu gives one confidence":

Once a tea master accompanied a feudal lord into town, wearing a sword to appear incognito. There he was challenged to a duel by a samurai. Desperate, he asked a Buddhist priest what he should do. The priest said, "Just handle your sword like a tea scoop." The tea master appeared at the dueling site at the appointed time. He pulled out his sword before the watching samurai and handled it just as he would a tea scoop, upon which the samurai skedaddled.

Now, I don't have a ton of experience with tea, and of course I don't suppose the priest meant it literally; but I can't imagine a situation in which handling a katana as one would a chashaku (tea scoop) would result in success. Sounds like a great way to cut your fingers very badly...and probably spill your matcha.

Another take on chanoyu: Prévert's "Déjeuner du matin".

This morning on the way to work I was thinking about tea ceremony, and a poem popped into my head that I learned many moons ago: Jacques Prévert's "Déjeuner du matin":

Il a mis le café
Dans la tasse
he poured the coffee into the cup

Il a mis le lait
Dans la tasse de café
he poured the milk into the cup of coffee

Il a mis le sucre
Dans le café au lait
he put the sugar into the café au lait (or, the coffee and milk)

Avec la petite cuiller
Il a tourné
with the little spoon, he stirred

Il a bu le café au lait
Et il a reposé la tasse
he drank the coffee and set down the cup

Sans me parler
without speaking to me

Il a allumé
Une cigarette
he lit (or lighted, if you prefer) a cigarette

Il a fait des ronds
Avec la fumée
he made rings with the smoke

Il a mis les cendres
Dans le cendrier
he shook the ashes into the ashtray

Sans me parler
Sans me regarder
without speaking to me
without looking at me

Il s'est levé
he stood up

Il a mis
Son chapeau sur sa tête
he put his hat on his head

Il a mis son manteau de pluie
Parce qu'il pleuvait
he put on his raincoat, because it was raining

Et il est parti
and he left

Sous la pluie
in the rain

Sans une parole
without a word

Sans me regarder
without looking at me

Et moi j'ai pris
Ma tête dans ma main
and, me, i took my head into my hand

Et j'ai pleuré
and i cried

Notwithstanding its emotional tone, it's a great poem for relatively early students of French to learn because the grammar and vocabulary are so (intentionally) basic.

What struck me about it this morning is that it shares with chanoyu that focus on granular process—doing exactly one thing at a time, in order (and, in this case, while being watched and narrated in past-tense real time!). Both have a central theme of presence, to some degree through ritual—being totally present in the tearoom with the guests, tranquil in that moment and the simple (though not at all simple) actions of making tea—or, in the poem, being slowly emotionally devastated by this string of deliberate, also simple, everyday acts. Both also involve one actor and one relatively passive "guest" (although, of course, "he" is making coffee for himself).

Interesting that much of the tension in the poem derives from the speaker's apparently understanding, while the coffee is being made, that the last act will be departure; in a way it's the exact opposite of the now-focus of tea. But, then, you can also argue that it matches the wabi element of tea practice, in emphasizing the ephemerality of the moment and the poignancy of human experience—that two people can never meet twice and have the same experience (or be the same person), and that each time is the only time. だから「一期一会」と言って、掛け物に書きますね。 Very similar and very different.

And, of course, tea doesn't usually end in tears. (Usually.)

I wonder whether Prévert had any experience with tea. It doesn't seem likely for his Parisian context, and the Net isn't connecting the two for me, so maybe it's just that Prévert arrived at a similar idea of the inner tensions/dynamics/richness/poignancy of a seemingly mundane experience.

(Maybe when leaving "he" said 失礼いたしました—a humble apology for having been in the tearoom at all—before pawing the door closed. I doubt it, but it's fun to think so.)

More paragons of piety.

Not to overbeat the drum, but.... Was just looking up the 24 Paragons of Filial Piety, and I found a very different translation of the titles, with the names of the paragons:

1. Filial Conduct That Impressed The Gods: Shun The Great
2. Personally Checking His Mother's Prescriptions: The Learned Emperor Of Han
3. His Heart Was Pained When His Mother Bit Her Finger: Zeng Shen
4. Clad In A Threadbare Jacket, He Tolerated His Cruel Stepmother: Min Ziqian
5. Carrying Loads Of Rice On His Back To Feed His Parents: Zi Lu
6. Entering Servitude To Pay For His Father's Funeral: Dong Yong
7. Bringing Deers' Milk To His Ailing Parents: Young Master Tan
8. Taking On Menial Labor To Support His Mother: Jiang Ge
9. Stealing Oranges To Take Home For His Mother: Lu Ji
10. Never Tiring Of Feeding Milk To Her Mother-In-Law: Lady Tang
11. Attracting Mosquitos To Drink His Blood: Wu Meng
12. Lying Down On The Ice To Get Carp For His Stepmother: Wang Xiang
13. Burying His Son To Save His Mother: Guo Ju
14. Wrestling With A Tiger To Save His Father: Yang Xiang
15. Resigning Office To Search For His Mother: Zhu Shouchang
16. Deeply Concerned, He Tasted His Father's Stool: Yu Qianlou
17. Costumes And Pranks To Amuse His Parents: Lao Laizi
18. Picking Mulberries For His Mother: Cai Shun
19. He Fanned The Pillow And Warmed the Sheets: Huang Xiang
20. A Bubbling Spring And Leaping Carp: Jiang Shi
21. Crying By The Grave When Thunder Rolled: Wang Weiyuan
22. Serving Wooden Statues Of His Parents: Ding Lan
23. Tears That Brought Bamboo Shoots From The Frozen Earth: Meng Zong
24. Personally Scrubbing His Mother's Chamber Pot: Huang Tingjian.

Why am I so excited to read this (after work)?

Anderson JL, "Japanese tea ritual: religion in practice".

I haven't been able to get to tea class in months, since the past semester started; either class or something else is always standing between me and the park. But recently I've been missing it, and I've found myself in idle moments looking through the Urasenke book, talking myself through ryakubon, and practicing folds with my "fukusa" (which is, in fact, the silk curtain from a toy magic show I had as a kid—since I foolishly left my fukusa, fan, and papers at class last time—but the proportions are about the same).

I have access to scads of journals online through the university, and today while meandering through some publications on traditional Japanese arts/crafts I found a really good read about tea ceremony. It's an early publication by Jennifer L. Anderson, a PhD anthropologist and long-time Urasenke-style tea practitioner (who, as it happens, now teaches at SJSU, with my friend and former college advisor, who loves it there). The piece is called "Japanese tea ritual: religion in practice", and it explores the ritual/philosophical/religious elements of chanoyu in a way that apparently until that time (1987) really hadn't been done in a structured way, at least in Western anthropology.

I find the spiritual elements of shuuji and tea elusive. My background is Anglo-Catholic but really secular, and although I've done some reading on the concepts, my understanding is only superficial. So, this was a very helpful read for me. Anderson takes us through the whole process of a chaji, pausing now and then to explore the deeper meanings of apparently simple actions:

The high point of the entire ritual takes place as the main guest tastes his initial sip of koicha tea. If host and guest are to experience a deep sense of shared tranquillity, it will be now. Ideally, the guest feels deep gratitude for everything that has gone into creating the wonderful experience epitomised by the first sip of tea. And the host senses that he has successfully communicated something deeply important to someone who understands the meaning of his effort. For one moment, both have the opportunity to experience an unfathomable sense of 'wholeness, health, and holiness'.... Chado exists to make this moment plausible. Symbols which link host and guest to their forebears, to society, to various philosophies, to the phenomenal world, and ultimately, to the cosmos are concentrated in this one cup of tea.

There's a lot of other gold in the piece, too, such as the elemental and "virtual" associations of the nine segments of a four-and-a-half-mat tearoom, the communicative intent of the host's actions (such as placing bound stones and sprinkling water on the roji path), and the beautiful "和敬清寂"　(wa-kei-sei-jaku, peace/respect/purity/tranquility), "the central litany of tea values". It's an expression I'd never heard before, and googling it pops up all kinds of Japanese 茶道 sites. (If I'm feeling ambitious sometime, maybe I'll try to write it; I've written wa and sei before, but the other two are daunting!)

Some of the piece is mainly academic (literature review on definitions of ritual), but it's a rewarding read, and I recommend it if you're interested in tea.

Anderson JL. Japanese tea ritual: religion in practice. Man: The Journal of the Royal Anthropological Society of Great Britain and Ireland. 1987;22:475-498.

the article is online here

Dr Anderson has a page of nifty chanoyu resources, here

Her An Introduction to Japanese Tea Ritual is on Amazon, here

If you can't access the article, let me know, and I'll try to e-mail it to you.

喫茶去！

章甫を資して越に適く。(proverb: selling Yin caps in Vietnam?)

One more little bit of interest about fumizome: when I tried to google the word in kana, Google suggested replacing ふみはじめ with 章甫を資して越に適く, a string that I admit I don't understand at all. This Japanese proverb site gives it in kana: しょうほをししてえつにゆく (shouho o shishite, etsu ni yuku)—so, presumably it's a proverb. The site explains thusly:

道理にはずれた行為や見当違いなことをするたとえで、あるところでは必要なものでも、所によっては不必要とされるたとえで。程度の低いものには高尚なことは理解できないことのたとえにもいう。章甫の冠を売ろうとして、冠などかぶらない越の国へ行く意味から。「章甫」殷代の冠の名。

ちょっと訳してみましょう：

道理にはずれた行為や見当違いなことをする
douri ni hazurete, koui ya kentou-chigai na koto o suru.
to act in a way that's mistaken or untrue / not sensible.

たとえで、あるところでは必要なものでも、
所によっては不必要とされるたとえで。
tatoeba, aru tokoro de ha hitsuyou na mono de mo,
tokoro ni yotte ha fuhitsuyou to sareru tatoe de.
e.g., a thing that's useful in one place may not be thought so in another.

程度の低いものには高尚なことは
理解できないことのたとえにもいう。
teido no hikui mono ni ha koujou na koto ha
rikai dekinai koto no tatoe ni mo iu.
Also said of not understanding the difference between refined and worthless things. (Or, depending on "mono"—because it's followed by "koto"—that people who are low in degree don't understand refined things.)

章甫の冠を売ろうとして、
冠などかぶらない越の国へ行く意味から。
Shouho no kanmuri (kanburi, kan?) o urou to shite,
kan (etc.) nado kaburanai etsu no kuni ni iku (yuku) imi kara.
From the sense of going to Vietnam (the country across), where they don't wear caps and such, to try to sell shouho caps.

「章甫」殷代の冠の名。
"shouho", indai no kanburi no mei (na?).
"Shouho" was a kind of cap/hat in the Yin (Shang) Dynasty.

This kind of thing makes me despair of ever really understanding Japanese! I still don't understand 資す (taking part in?—maybe "offering") in this context, but I think I kinda-sorta get the sense of it. Like our idea of "selling ice to an Eskimo"—don't even bother!

That ”kan/kanmuri/kanburi" can also be a crown or coronet, as in the kanmuri kanji radicals, and seems also to carry a sense of rank; makes me wonder about the nature of this "cap": if "etsu" really is Vietnam—or whatever "other" nation—was there a sense among the people who originated the proverb that shouho were beautiful/refined/noble things that would be wasted on those other people? Like our "casting pearls before swine"? This image from a Chinese site purports to be shouho; it doesn't look so very impressive, especially when compared to other styles (such a those on this page, which mentions shouho in category 8, which is nothing like the image above, and seems not to include it in any of the images).

It really is amazing to think that if this really is a Yin/Shang-era proverb, the it dates to the second millennium BCE. Maybe I can ask about it on a forum on ancient Chinese headdresses. When I have less work to do.

Or, maybe nothing I've said above is anywhere near the true interpretation of "shouho o shishite, etsu ni yuku". 道理に外れたかもしれませんが、しょうが無いでしょうね。

ふみはじめのしき？ (書初めの式) And kakizome?

I have a 源氏物語 (Tale of Genji) app on my phone, so sometimes when I'm walking somewhere I'll open it up and try to read a little. Sometimes I can; sometimes, not so much. But this morning I saw something particularly interesting: 書き初め, with furigana given as ふみはじめ—"the start of writing". (I haven't seen the reading "fumi" before for that kanji, and per Jisho.org it seems no longer extant—unless I misremembered the kanji while getting off the elevator.) This being January, I wondered whether it might have some relation to modern kakizome (書初め、書き初め、書初—written with exactly the same kanji), the first writing of the new year. So what is, or was, fumi-hajime?

This book translates the scene and offers some insight:

The boy lived entirely at court from then on. When he was seven, the emperor held the first reading, and he was so unbelievably quick and bright that his father actually worried about the significance of such brilliance.

"I don't see how anyone could dislike him now," the emperor said....

A footnote explains,

The first reading (fumihajime) was usually performed when the son of a high-ranking family reached the age of seven or eight. Ostensibly designed to show the child how to read, it was a largely symbolic event, during which the young principal, dressed in elaborate robes, repeated a few words after hearing them read aloud from the Classic of Filial Piety or some other suitable text.

[Helen Craig McCullough, Genji and Heike: Selections from The Tale of Genji and The Tale of the Heike]

The much earlier A Tale of Flowering Fortunes (1980), also by Helen McCullough, translates an account of a historical fumihajime and includes more detail in the footnote:

...[I]t was a purely symbolic event, during which the elaborately robed young principal sat in silence while a Reader (Jidoku) intoned, and a Repeater (Shoufuku) repeated, a few words from a suitable text, usually the Classic of Filial Piety (Hsiao-ching). At Crown Prince Atsuhira's fumihajime, held on the Twenty-eighth of the Eleventh Month, 1014, in the Tsuchimikado Mansion, only the title and the first four characters of the Hsiao-ching were read. As was usual, the assembled dignitaries then adjourned to another part of the mansion for a banquet. Shouyuuki, 3: 255 (28 xi Chouwa 3). (Shouyuuki is apparently a period court diary—ed.) For a picture of a fumihajime ceremony, see Genji, 1: 493, item 31.

So, I guess the young noble dressed up, repeated a few words (not even from memory), and got his trophy, and then everyone ate. Welcome to adulthood, kid. :-)

Interestingly, this 19th-century dictionary (by Hepburn, a very interesting missionary from Pennsylvania who helped romanize Japanese and whose school in Japan became Meiji Gakuin) defines fumihajime as the first writing of the new year and gives "kakisome" as a synonym, and doesn't even mention reading or classical ceremony. So, as in words like 書類, maybe in this case there's some fluidity between writing and reading, and the sense was more of "the first text".

(I also notice "kakisokonau", "to make a mistake in writing"—a good word to know, especially as the second kanji is not any variant of "to make a mistake", but rather 損なう, to harm, hurt, injure, damage, or fail. Like the first time I tried to write shikishi—書き損なっちゃったなぁ。。。)

Just for fun: apparently there's another classic of filial piety that could be read from at fumihajime, called 24 Paragons of Filial Piety. These are the paragons:

The Feeling of Filial Piety Moved Heaven
Her Son Tasted Soups and Medicine
Zengzi's mother: She Bit Her Finger and Pained His Heart
He Obeyed His Mother in Simple Clothes
He Shouldered Rice To Nourish His Parents
He Sold Himself To Bury His Father
He Fed His Parents Doe's Milk
He Hired Out To Support His Mother
He Concealed Oranges To Present To His Mother
She Suckled Her Mother-In-Law
He Let Mosquitoes Consume His Blood
Wang Xiang Lay on Ice in Search of Carp
He Buried His Son for His Mother
He Strangled A Tiger To Save His Father
He Abandoned His Post To Seek His Mother
He Tasted Dung With an Anxious Heart
He Amused His Parents With Play and Glad Clothes
He Picked Mulberries To Serve His Mother
He Fanned the Pillow and Warmed the Quilt
The Fountain Bubbled and the Carps Leapt Out
He Heard Thunder and Wept at the Grave
He Carved Wood To Serve His Parents
He Wept Till the Bamboo Sprouted
He Washed His Mother's Bedpan

Sounds like a super fun read. 楽しそうだと思いますよね。

古池に。

This is the Buson poem I'm working on (writing) right now:

ふるいけに　ぞうりしずみて　みぞれかな

furuike ni zouri shizumite mizore kana

in the old pond, a sandal (草履) sinking—sleet

I find the image particularly relevant for Philadelphia, where the winters tend to be wet and cold and the surfaces slippery and icy, as opposed to the more substantial snowfalls in the suburbs. (Already this evening it's started in on the dreary kind of rain, when it's neither particularly raining nor particularly not raining but if you go out you're sure to be soaked.)

We've been playing around with the kana and hentaigana, but here's roughly (from sources—none mine) what I'm working on:

Tough to fit it all together in a way that makes sense, but it helps to have that long し to counterbalance the ふ. And this is patched together graphically, so the actual thing is much more connected. Long, long way to go.

Mysterious ん.

Recently I read somewhere that in some words some vowel + consonant + vowel combinations that now aren't always spelled with an ん used to be, and that in those cases although the kana has vanished it still affects pronunciation. I knew about あまり amari (あんまり anmari), and that it's sometimes a thing, particularly with female singers, to add that sound (as in Misora Hibari's "晴れる日(ん)が来るから" (hareru hi [n] ga kuru kara) and Miyuki Nakajima's "いつか、話せるひ(ん)が来るわ" (itsuka, hanaseru hi [n] ga kuru wa")—both very specific structures, but all that's occurring to me right now—and now in an e-mail from 先生 I see すんごく (vs すごく). What's going on here phonetically? When and how did this come about? Will have to look into it and find some more examples. There must be a known pattern.

トビラ, かな

We've begun the Tobira textbook, and I'm finding it at once easier and more difficult than the Genki books. The first lesson is on the basics of Japan itself—islands, cities, particles, etc.—which I don't think Genki covered at all. (先生 says Oosaka leadership wants to change the city's particle from 府, prefecture, to 都, capital—a particle currently enjoyed only by Toukyou itself! Kyouto is the only other 府. But apparently the people don't like the sound of Oosaka-to much less than Oosaka-fu. Politics of language!) Tobira also is much more kanji-dense, so it's a more difficult read, but it'll be good for me.

In 習字 we've begun writing winter haiku, and we got far enough with it last time to start working on placement of lines on the page (chirashi or tanzaku style). Because I need practice with both chirashi "theory" and reading/kanji, over the holiday break I've been working on 仮名精習, that amazing book of kana and chirashi theory, and pulling out any kanji/vocab I don't know. So, I think I'll end up with a very specific vocabulary.... 例えば、

• 方向　houkou, direction (eg, of a line, or differentiating slightly in the directions of two lines)
  
• ぬく nuku, a mysterious one that's usually in kana and seems to mean (sometimes) lifting the brush off the paper (eg, omitting it) or (sometimes) pulling one line out a bit past another (eg, extruding) 抜く, 貫く (ぬき筆)
  
• 転折 tensetsu, a sudden turn (of the brush, as from horizontal downward)
  
• 対向する taikou suru, "reverse direction", which seems to equate to gyakuhitsu　逆

and, my favorite so far,

• 気脈 (kimyaku): "conspiracy / secret communication"—in this case, lines within a character that should connect continuously even when the brush isn't touching the paper

逆 is an interesting kanji. The radical is shinnyuu, walking/advancing (or a path or road, as in 道 or 通る), but funnily enough not used in 歩く. But the つくり is 屰, "disobedient", with similar meanings of reverse/inverse, a sense of going against the grain. Both carry readings of ギャク and さか・らう. As you might suspect, only one (逆) is still in general use. That radical itself doesn't seem to unite other kanji, but it does seem that that + 欠 "lack" +　厂 "cliff" appear together with some frequency. The meanings don't seem to unite much, but most have ケ-like readings. I'll have to check some of them out in Henshall.

There also are some kanji pairs that keep coming up and mean opposites—the lightness/darkness, thickness/thinness, etc., of lines. For most of them I know at least one of the kanji (or, at least, its kun'yomi) and can guess the other. Tough going, but worth it!

ところで。。。。

Last lesson, 日本語の先生 and I thought about the origins of "to drive" in English. Before cars, it had the sense of "to make someone or something do something" (人に何にかをさせること？), especially when otherwise that someone might do something else—eg, to drive cattle (making them run in the desired direction), a "slave-driver". The image that comes to mind is of cracking a whip. I guess the verb took on a vehicular sense when wagons were "driven" by horses or oxen, which in turn were "driven" by the driver. Then came "horseless carriages", whose engines were driven by drivers. Makes me wonder why trains are driven by "conductors"; I guess in that case (since the train is on tracks and can't really go anywhere you don't want it to) the sense is of a person who organizes things (as in orchestrating an orchestra), rather than strictly "driving". 面白いね、表現は。

買ったばかりの教科書が着いた！ (New books!)

I'm stoked because two new books just arrived:

Tobira: 日本語の先生's recommended next textbook. I haven't had much of a chance to look through it yet (beyond waiting in line at the sandwich shop), but my goal is to get through at least the first chapter by next Wednesday's lesson. The reading is much more demanding than the Genki books, but although it's a long haul I think the challenge will be good for me. It also has an extensive multimedia component that I think will help, especially if I can pull any of it down to my phone.

Haruo Shirane's book on classical Japanese grammar: As we've been writing (and reading) haiku and tanka in 習字, I've wanted to better understand the grammar. I read a few web pages about it but wanted something deeper, and this book is pretty universally recommended. So far, I'm really liking the pedagogy—it's direct, frank, and well organized, and plenty of examples from classical texts. Definitely a reader-focused book.

Now, if I can just get through this weekend's work for the office....
I haven't been able to get to tea class in months. :-(

Choosing a haiku to write for winter.

Time to pick a new haiku to practice writing in 習字 lessons! Endless possibilities, but I'd like to have practiced at least one from each of the four (relatively recent) masters (Bashou, Issa, Buson, and Shiki), so for now I'm focusing on them. Below are some winter haiku I've found online from Buson, with lame attempts at translation by me and no attempt whatsoever at poeticizing.

(I imagine most of them are way off, but it's the best I can do. I was fortunate to find a partial of Shirane's excellent textbook on classical Japanese, which I hope to have in hand soon, and some other resources, but still I find it very mysterious—though also very rewarding.)

寒月や門なき寺の天高し
kangetsu ya mon naki tera no amatakashi
winter moon—gateless temple, height of the sky

寒垢離や上（かみ）の町まで来たりけり
kangori ya kami no machi made kitarikeri
winter (cold-water) ablutions / arriving at (or due to) / the neighborhood of the gods (a red-light district? 京島原遊廓内)

磯ちどり足をぬらして遊びけり
iso chidori ashi o nurashite asobikeri
plover on rocky beach, dipping its foot into the water, playing

狐火の燃へつくばかり枯尾花
kitsunehi no moetsuku bakari kareobana
withered pampas grass—only the will o' the wisp glows

待人の足音遠き落葉哉
machibito no ashioto touki ochiba kana
distant footsteps of the person you're waiting for; fallen leaves

西吹ケば東にたまる落葉かな
nishi fukeba, higashi (azuma?) ni tamaru ochiba kana
the west wind blows; fallen leaves gather in the east

河豚の面世上の人を白眼（にら）ム哉
fugu no omo sejou no hito o niramu kana
the puffer-fish's mask glowers at the people on land

楠の根を静にぬらす時雨哉
kusa no ne o shizuka ni nurasu shigure kana
early winter drizzle...quietly soaks the camphor root

しぐるゝや我も古人の夜に似たる
shigururu ya waga (ware) mo kojin no yoru ni niru
drizzling—i too look like an old man's night?

茶のはなや石をめぐりて路を取
cha no hanaya ishi o megurite michi o toru
the flower-arranger for tea takes a path around the pebble

里過て古江に鴛（をし）を見付たり
sato sugite Furue ni oshi o mitsuketari
passing beyond hometown, in Furue i see a mallard

こがらしや畠の小石目に見ゆる
kogarashi ya hatake no koseki (koishi) me ni miyuru
winter wind—the eye sees a pebble in the field

凩やこの頃までは荻（おぎ）の風
kogarashi ya konogoro made ha oki no furi (kaze)
blustery wind, until around now, silvergrass wind (or shaking/waving of silvergrass)

初雪の底を叩けば竹の月
hatsuyuki no soko o tatakeba (hatakeba) take no tsuki
as the first snow ends, bamboo moon

水仙や寒き都のこゝかしこ
suisen ya samuki miyako no koko kashiko
daffodil/narcissus, here and there in the cold capital

この村の人は猿也冬木だち
kono mura no hito ha saru nari fuyukitachi
winter trees—the people of this village are becoming monkeys

足袋はいて寝る夜ものうき夢見哉
tabi haite neru yo mo nouki yumemi kana
socks on, a night to sleep? and maybe to dream

氷る燈の油うかゞ鼠かな
kouru hi no abura ukauka nezumi kana
oil of a frozen lamp; carelessly, a mouse

古池に草履沈ミてみぞれ哉
furuike ni zouri shizumite mizure kana
a sandal sinking into the old pond—sleet

しぐるゝや鼠のわたる琴の上
shigururu ya nezumi no wataru koto no ue
Light winter rain like scampering rat's-feet over my koto

鷺ぬれて鶴に日の照時雨哉
sagi nurete tsuru ni hi no teru (nichi no te) shigure kana
early winter rain—the heron soaked, the crane in sunshine?

斧入て香におどろくや冬こだち
ono haite kaori ni odoroku ya fuyu kodachi
axe cuts; surprised by fragrance from winter grove of trees

我を厭う隣家寒夜に鍋を鳴ラす
ware(waga, wa) o itau rinka kanya ni nabe o narasu
on a cold night, banging pots outside the houses of people who hate me

芭蕉去てそのゝちいまだ年くれず
Bashou sa(ri)te sono nochi imada toshi kurezu
Bashou is gone, and never again will a year end as his did
(I hope one day my Japanese will be good enough to read Bashou's 奥の細道, which is possibly the coolest literary pilgrimage ever.)

(Side note: Shiki also is in Japan's Baseball Hall of Fame. That's beyond awesome.)

Back in 習字 lessons!

We haven't had shuuji lessons in a while; 先生 went back to Japan to visit, and in the time since her return our schedules have all been weird. But last Saturday we finally got back to it! We started a new poem for 散らし chirashi style, in hiragana and hentaigana—

はこねじを わがこえくれば 伊豆の海や 沖の小島に 波寄る見ゆ

はこねぢをわがこえくれば
いづのうみや おきのこじまに なみのよるみゆ

Hakoneji o waga koekureba
Izu no umi ya Oki no kojima ni
nami no yoru miyu

It's by Sanetomo MINAMOTO (源実朝—though I am lame enough to read his name as jitsu-asa), who lived (1192–1219) and reigned (1203–1219) in the Kamakura period and whose image appears at right. Seems he turned to poetry because his mother's father kept trying to bully him off the throne. (Reminder to self: track down Hyakunin Isshu.) That he didn't make it past 26 suggests he wasn't living in very safe times. Get this:

Under heavy snow on the evening of February 12, 1219 (Jōkyū 1, 26th day of the 1st month), Sanetomo was coming down from the Senior Shrine at Tsurugaoka Hachiman-gū after assisting to a ceremony celebrating his nomination to Udaijin. His nephew (the son of second shogun Minamoto no Yoriie) Kugyō (Minamoto no Yoshinari) came out from next to the stone stairway of the shrine, then suddenly attacked and assassinated him. For his act he was himself beheaded few hours later, thus bringing the Seiwa Genji line of the Minamoto clan and their rule in Kamakura to a sudden end.

source

Heavy. Here's a pic of the stairway to the Senior Shrine. Apparently the thousand-year-old ginkgo at left fell in a storm in 2010.

Last time we practiced the text up to や.

We're also working on five-character 行書 gyousho. My text is about opening windows/rafters and feeling slight coolness: 開軒納微涼. We practiced writing on long paper, on the floor; I settled on the paper in seiza, as if I were about to serve tea, but in fact the thing is to straddle the paper and slide the suzuri down as you go.

I mentioned that I'd asked 日本語の先生 about the origin of the kanji for mu (無), and 習字の先生 looked it up in 漢字語源, a book of kanji "etymology" (at least, origins). The book said mu was about storing things in kimono sleeves; that certainly works with the crying-face kanji—so symmetrical and with a definite feeling of hanging and swaying—but doesn't accord with Henshall's or 日本語の先生's explanation. Henshall says it's "of somewhat confused and obscure etymology"—a dancer with tasseled sleeves, with the four 点 meaning not fire, but actually "cease to be / die" (with an illustration that looks like 七 and probably, given "shichi"/"nana"/"shinu", is either exactly that or something close). The rest of his explanation is about confusing intermediate forms, and he lands on thinking of the grid part of 無 as a sheaf of wheat. I like 日本語の先生's explanation better: he explained it as person (hitoyane), barrel, and fire—so 無 is the feeling you get when you sink into a bath. (It came up as 習字の先生 was telling us about a visit to an 温泉 onsen, a hot spring.) The sleeve explanation certainly helps, but I can also see turning the "sleeve" version into the standard version if you just straighten out the curved bits.

何かありませんか？

I'm hoping to see 習字の先生 tomorrow, so I'm looking around online for an autumn-themed haiku to start working on. Found a potentially funny post on Yahoo Japan:

そろそろ秋ですね。
秋に関する5・7・5の俳句何かありませんか？
オリジナルで季語を入れてください。

At first I was posting this because the question struck me as funny: "Are there any haiku about autumn?" Yes—several! But the third line confuses me: original de kigo o irete kudasai—please add seasonal keywords...to the original? using the original? I don't quite get the sense of it. The response haiku all seem to be original, though, so I guess the sense must be "make it original, and use seasonal words".

Too bad they're original, because I liked this one:

わたくしも 枯葉と一緒に 枯れて行く
wakushi mo kareha to issho ni kareteiku
I (too) (am) wither(ing) / will wither with the leaves

Not morose at all.

But back to 秋についての句。 Autumn themes/kigo include dragonflies, harvest, sunset, full moon, orchid, chrysanthemum, autumn leaves, fallen leaves, maple, mushrooms, deer, etc. I'm not sure how strictly autumnal I want to be, though; it's November, and we've already had our first snowfall, and though the sun is bright there's a persistent chill. Almost heavy-coat weather. So, probably nothing about harvests or even insects, particularly since it'll be a long time before I can write the new poem with even minimal competence.

じゃ、この素晴らしいデータベースを使って季語で調べましょう。。。。

So many choices; how does one begin? I was thinking of writing about maple leaves, but when I look out my window, I see that harsh sunlight that's peculiar to this time of year, the kind that soon will be glaring off the snow.

I can't overstate the coolness of this haiku database. I'm currently browsing in plant keywords, summer, set 2, and the subdivisions of this screen alone are incredibly detailed: new leaves, overgrowth, many leaves, darkness under trees, green shade, new persimmon leaves, new beech leaves, new evergreen oak leaves, new camphor leaves, young maple, summer willow, diseased leaves, and 38 more categories. Each category contains about 150 poems. So (per cursory math) there must be almost 2 million haiku here. Bewildering!

Well, it was Halloween just last week, and there are still lantern-light tours of Philadelphia going on, so maybe something about flickering light　(明滅). Many options.

[time passes]

I think I'll go back to the one I liked so much at first, Bashou's "lonely road". I don't think I've written anything by Bashou, so.

この道や 行く人なしに 秋の暮れ

kono michi ya
yuku hito nashi ni
aki no kure

on this road,
no one is traveling
in the autumn dusk

Or something like that. Here's a page that explores the poem and some of its translations and interpretations. The dusk and loneliness push it winterward, and apparently it was written on November 13, so it seems a solid choice. And the thought has almost universal applications; I can see myself posting it outside my office at work. It's a bit dramatic, though, so I'll keep looking.

Unbearable fright.

From early times there are stories of the trials and tribulations involved in writing plaques for high palace buildings. For instance, in the Wei dynasty when the Ling Yun T'ai—a recreation pavilion "as high as the clouds"—was being built, Emperor Ming had the famous calligrapher Wei Tan write the plaque inscription. Wei had a platform built at a height of seventy-five meters and climbing to it, wrote the inscription. When he got down his hair had turned white from unbearable fright. He admonished his children not to become calligraphers.

—NAKATA Yujiro, The Art of Japanese Calligraphy
which I highly recommend

間違・う / 間違・える / 違・える (428 million ways to be wrong).

Thinking about "ma" (間) has brought back a question I've never quite been able to answer: the difference in meaning, if any, between 間違う (machigau) and 間違える (machigaeru). Both mean "to be mistaken / to make a mistake"; both combine 間 (the "ma" in question) with　違う (to be different)； the difference in structure is in just the endings, -u vs -eru. The native speakers I've asked agreed that they're very similar, pretty much interchangeable. But I wonder whether, as in English, there are context-specific distinctions that people who know the language well make automatically in natural speech.

Google is very helpful for usage questions, and in this case it suggests that there are differences:

Google hits by form (in millions, searched in kana & kanji)

	-u form	-eru form	ratio (:1)
dictionary	4.96	11.50	0.43
nom.	176.00	87.20	2.02
pol. (-masu)	0.11	0.52	0.21
short past	20.40	23.90	0.85
pol. past	0.64	5.11	0.13
prov. (-ba)	0.99	1.21	0.82
cond.	0.61	1.50	0.41
-te	58.80	28.80	2.04
short neg.	1.11	4.52	0.25
pol. neg.	0.10	0.42	0.24
overall	263.72	164.68	1.60

Only a very hazy index, and of course it's biased toward online use and doesn't tell us anything about regional usage or other forms or specific cases. But it does suggest that some distinctions exist. 間違う forms overall are about 60% more frequent than 間違える forms, and most of the individual differences are pretty marked; in only a few cases are the usage numbers comparable.

The definitions on Denshi Jisho are too general and too similar to help. Goo has much more detail and in fact lists them together as a set of three "quasi-synonyms" (類語, "ruigo"): machigau, machigaeru, and ayamaru, which is usually defined as "to apologize". (Will have to look into ayamaru and its several kanji later.) Here (with ayamari in advance for the many machigai in my rough translation) is what Goo says about them:

GENERAL MEANING (ayamaru / machigau / machigaeru)

to make an incorrect decision or judgment; also, an error or failure in action or behavior [ie, to be wrong about something]

USAGE (examples)

ayamaru: "to misjudge" (as an approx measurement with the eye); "to make a misstep" (physically miss one's footing); "to lose one's way" / "take the wrong path" (ikikata o machigaeru, "err in one's way of living", with machigaeru)

machigau: "the answer isn't wrong"; "that's wrong" (are ha machigatteiru)

machigaeru: "to mistake an umbrella for something else" (kasa o machigaeru); "mistakenly sent an invitation to Mr. Tamura rather than to Mr. Murata" (tamura-shi to murata-shi o machigaete, annaijou o dashita) [so, "to confuse two things" or "to mistake one thing for another"]

USAGE (distinctions)

1. used as a transitive verb, "ayamaru" means to acknowledge an incorrect judgment about something. [ie, to apologize] in the form "...o ayamaru", usually the error or acknowledgment goes in the "o" part. in many cases the form "ayamatta" is used intransitively to modify a noninflectable word (eg, "ayamatta kangae", "mistaken thought"), and used with the sense that one is wrong, said something false, judgment or understanding is incorrect. furthermore, currently there are many cases in which "ayamatte" is used with the sense of "inadvertently"/"accidentally", sort of like an adverb.

2. "machigau" is really an intransitive verb, and there are situations in which the two are not interchangeable. however, currently, it's almost the same as "machigaeru" (eg, "順番を間違う, junban o machigau").

3. as an intransitive verb, "machigau" follows three rules of usage/meaning: (i) when pointing out a person's concrete/tangible "misses" or failures—"man, he messed up again!" (あいつまた間違った!)—the person becomes the subject. in these cases, the focus is on superficial action/behavior. this form is also used to address a lapse in behavior without mentioning the error in judgment. (ii) as with phrases like "your thinking is mistaken / you are mistaken in your thinking" (anata no kangae ha machigatteiru), it's used to mean adverse deeds or behaviors that result from a person's thinking, choices, or judgments; (iii) as with "the answer is wrong" (kotae ga machigatteiru), it's used to mean bad (incorrect) outcomes that result from errors of thought or judgment.

4. the intransitive "machigau" and "ayamaru" are [both] close in meaning to "to misjudge / make an incorrect decision". if you really want to distinguish them (!), "machigau" has the sense of making a more specific/concrete/tangible (gutaiteki) "miss", and "ayamaru" can say something's wrong without specifying the occasion or nature of the error and has a more more abstract feel. so, vs "your thinking is mistaken" (ayamaru), "your thinking is more mistaken" (machigau) has developed the nuance of more direct speech / more of a criticism. also, generally / in popular usage, "ayamaru" is more natural for ideas, cognition, etc., and "machigau" for cases in which concrete outcomes result from mistakes in thinking or judgment.

5. "machigaeru" is really/originally a transitive verb that corresponds to intransitive "machigau". "machigaeru" refers to superficial actions, like missing your fingering while playing the violin or making an error in a calculation or a response to a question—a glitch in thinking that results in an adverse outcome. Also used with the meaning of "to mistake/confuse" (torichigaeru): "confusing an umbrella" (with something else, I guess); "to mistake sugar for salt" (shio to satou o machigaeru).

RELATED WORDS

chigaeru: to form an understanding or judgment or behave in a way that is not normal. also, to (be permitted to) be or behave in a way that differs from other things/people or the norm. "kotae o chigaeru" (miss the answer); "atama no suji o chigaeru" (pull/strain a muscle in one's head); "yarikata o chigaeru" (to do it wrong, to make an error in method).

(That's some tough language for me, so I'll have to take another look at it later vs the original. Caveat lector.)

So the apparent 2-to-1 frequency of machigau in the nominal and -te forms makes sense; probably machigai is more common (as a general "error") than machigae, and machigatte probably appears more frequently in compound use. 塩と砂糖を間違えて料理に置いてしまいました。"Mistaking it for salt, I (disastrously) put sugar on the food."—less specific, maybe, than uses for machigau.

Particles may shed some light, so here's a table of hits for GA+machiga- (subject marker) and O+machiga- (object marker):

	ga	o	ratio		ga	o	ratio
-u	0.1	1.0	0.1	-eru	0.2	3.4	0.1
-tta	17.8	6.4	2.8	-eta	4.0	23.9	0.2
-ttara	0.5	0.2	2.0	-etara	0.3	1.5	0.2
-imasu	24.8	0.0	826.7	-emasu	0.1	0.5	0.1
-imashita	0.2	0.2	1.1	-emashita	0.6	5.2	0.1

Not as clear as I'd hoped. Overall, machigaeru strongly and consistently prefers o (ratio below 1), across the board, and machigau prefers ga (ratio above 1). But there's a lot of variation in machigau: the pref for ga in the -masu form is waaay higher than for anything else—more than 826-fold—but in the plain (short) form machigau seems to prefer o almost as strongly as machigaeru does. 変ですね。 Even weirder: that intense preference for ga in the polite machigau is not reflected in polite past machigau, which seems to use the two about equally. それを間違いました、それが間違いました。　それを間違えました。それを間違った、それを間違えた。

The Goo page on "machigai" also looks helpful, but that's for another time. And then there's the question of "ayamaru" and "ayamatsu"....and 過 (過つ/過ぎる/過去)....

All this came about originally because I was looking for a way to apologize for errors in an e-mail to 先生 without committing new ones! 間違ったら、どうもすみません。　？