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- W2485492125 abstract "Near the beginning of his travel journal “Knapsack Notebook” (Oi no kobumi), Bashō makes an important and complex statement about nature and art. Saigyō’s waka, Sōgi’s renga, Sesshū’s painting, Rikyū’s tea ceremony—one thread runs through the artistic Ways. And this artistic spirit is to follow zōka, to be a companion to the turning of the four seasons. Nothing one sees is not a flower, nothing one imagines is not the moon. If what is seen is not a flower, one is like a barbarian; if what is imagined is not a flower, one is like a beast. Depart from the barbarian, break away from the beast, follow zōka, return to zōka.1I have left untranslated the key term zōka, a rather uncommon word derived from Chinese sources. The conventional translation of this term is “nature,” found in the standard translation of his journals by Nobuyuki Yuasa, as well as in renderings by Makoto Ueda, Eiichi Hayashi, and Eleanor Kerkham.2 Thus, the final line has been read as “follow nature, return to nature.”" @default.
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- W2485492125 date "2006-01-01" @default.
- W2485492125 modified "2023-09-23" @default.
- W2485492125 title "Zōka: The Creative in Bashō’s View of Nature and Art" @default.
- W2485492125 doi "https://doi.org/10.1057/9780230601871_3" @default.
- W2485492125 hasPublicationYear "2006" @default.
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