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What influenced Matsuo Basho
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Even though these two authors, Ki no Turayuki and Matsuo Bashō lived in different times, they made a great travel diaries. Tosa Nikki was the first well-written travel diary in Japan and showed how to write a diary. Oku no Hosomichi was developed from the diary style of the first Tosa Nikki. In this essay, I would like to discuss about the lives of Ki no Tsurayuki and Matsuo Bashō. Then, I will show how their diaries were different. Finally, I will discuss how these diaries are similar, and although these diaries are very different, they were both written to help the people of Japan.
The author, Ki no Tsurayuki, lived from 884 to 946. He was a great poet and one of four compilers of the Japanese anthology called Kokinwakashu, or Collection of Ancient and Modern Poetry. He wrote Tosa Nikki around 936. It was the first written travel diary which describes returning to Kyoto, the capital of Japan, from Tosa Province (now Kōchi Prefecture on Shikoku Island) after finishing his duty as provincial governor.
Matsuo Bashō, on the other hand was a great Japanese poet. He wrote Oku no Hosomichi which is a travel diary based on a journey he took with his disciple Kawai Sora in 1694. It was 1500-mile long journey into the rugged country side of northern Honshu which took 156 days ( Handout 15, n.d.).” He visited many shrines and places where Saigyo visited and every stop, he left poems.
Both were travel diaries, however, they were very different. During Ki no Tsurayuki’s time, only men wrote diaries and wrote them in Chinese, mostly about the affairs of state or the imperial court, not about their personal lives. As for his traveling, to go home to Kyoto is usually a happy experience. However, when he was in Tosa, he lost ...
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...ravel to northern Honshu like him.
Both, Ki no Tsurayuki and Matsuo Bashō were great Japanese writers. They had different things to talk about. They had different stories and wtiting styles. However, they both tried to show Japanese people a different way to live their lives. Tosa Nikki tried to help in a way that many people were inspired and wrote diaries. Bashō tried to help Japan stay connected to nature and be humble. They both influenced Japan and Japanese literature a great deal.
Works Cited
1. Keene D. (1955). Anthology of Japanese Literature (Tosa Nikki)
2. Handout 15 - Matsuo Bashō. https://laulima.hawaii.edu/access/content/group/MAN.80830.201130/Handouts/Handout%2015%20-%20haikai%2C%20haiku.pdf
3. Reading – Oku no Hosomichi https://laulima.hawaii.edu/access/content/group/MAN.80830.201130/Readings/Oku%20no%20hosomichi.pdf
“Until the seventeenth century, Japanese Literature was privileged property. …The diffusion of literacy …(and) the printed word… created for the first time in Japan the conditions necessary for that peculiarly modern phenomenon, celebrity” (Robert Lyons Danly, editor of The Narrow Road of the Interior written by Matsuo Basho; found in the Norton Anthology of World Literature, Second Edition, Volume D). Celebrity is a loose term at times; it connotes fortune, flattery, and fleeting fame. The term, in this modern era especially, possesses an aura of inevitable transience and glamorized superficiality. Ironically, Matsuo Basho, (while writing in a period of his own newfound celebrity as a poet) places an obvious emphasis on the transience of life within his travel journal The Narrow Road of the Interior. This journal is wholly the recounting of expedition and ethos spanning a fifteen hundred mile feat, expressed in the form of a poetic memoir. It has been said that Basho’s emphasis on the Transient is directly related to his and much of his culture’s worldview of Zen Buddhism, which is renowned for its acknowledgement of the Transient as a tool for a more accurate picture of life and a higher achievement of enlightenment. Of course, in the realization that Basho does not appear to be unwaveringly religious, perhaps this reflection is not only correlative to Zen Buddhism, but also to his perspective on his newfound celebrity. Either way, Matsuo Basho is a profound lyricist who eloquently seeks to objectify and relay the concept of transience even in his own name.
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