I just went back and updated my old post on Yamashita’s Gold, cleaning up some of the text and rewriting a few areas.
The legend of Yamashita’s gold — sometimes called the Yamashita treasure — is a tantalizing narrative that blends history, mystery, and adventure. It’s a story that has given rise to countless treasure hunts, conspiracy theories, and even legal battles.
If you’ve ever dreamed of stumbling across a hidden fortune in the jungle, you’ll want to read this one.
Ransetsu left behind a body of work marked by quiet sorrow and refined restraint. Here he gives us a moment of stillness, spring, and yearning.
うまず女の雛かしづくぞ哀なる umazume no hina kashizuku zo aware naru[1]
a childless woman
tenderly she touches
the little dolls for sale
—Ransetsu[2]
“The Fourth Month: Woman of the Enkyō Era” by Mizuno Toshikata
Ransetsu was a student of Bashō as well as one of his closest disciples. Bashō thought very highly of him and once wrote, “I cannot equal Ransetsu in poetical austerity.”
Childless Woman is perhaps his most famous haiku. You can imagine in your mind the sad woman who was denied the pleasure of having her own kids, looking longingly at the dolls, gently touching them while imagining what it might have been like to have her own baby. It gives us a very poignant image.
It may not be obvious for those unfamiliar with Japanese culture, but the dolls the poem refers to would be Hina dolls for Girl’s Day on March 3rd. It is a spring kigo (season word).
The skylark’s song, like spring itself, feels both joyful and fleeting. Bashō caught that tension in this haiku — one that’s easy to read, but harder to forget.
永き日も囀り足らぬひばり哉 nagaki hi mo saezuri taranu hibari kana[1]
all the long day—
but still not tired of singing,
the skylark
—Bashō[2]
“Skylark Above the Blossoming Peach” by Shoson Ohara
This is a seemingly simple haiku, but one that contains a bit more if we dive beneath the surface.
It can help to explore multiple translations to get a better feel for what’s going on. A more literal rendering might put the middle line as something like “not yet tired of singing”, making the full poem:
all the long day—
not yet tired of singing,
the skylark
I kind of like the image of the bird as full of boundless energy, joyfully singing on even as the long spring day draws to a close. That’s the feeling I aimed for in my first version. But the Japanese taranu (足らぬ) has a slightly different nuance: it means “not enough”, suggesting that as long as the day may be, it’s insufficient for all the skylark wants to sing. This adds a subtle sadness, a longing. The bird feels even this long spring day isn’t long enough.
It’s not quite the sadness of aging or death, but more the melancholy of spring’s fleeting beauty. Spring in Japanese poetry is often tied to youth, joy, and carefreeness, so its end feels like the fading of something precious. This may be universal as even English connects these images, for example referring to our youth as the springtime of our life.
Some commentators have suggested that the skylark might be a metaphor for Bashō himself. If so, he may have drawn inspiration from an 8th-century waka by Ōtomo no Yakamochi published in the 8th century Man’yōshů.
うらうらに照れる春日にひばり上がり心悲しも獨し思へば
uraura ni tereru haruhi ni hibari agari
kokoro kanashi mo hitori shi omoeba
In the soft radiance
of a shining springtime sun,
a skylark soars—
and sorrow fills my heart
as I sit and think alone.
So which is it — happy or sad? A little of both I think. That tension between joy and sorrow is what gives the poem its power. If you want the brighter reading, look at my first version. If you want the more Buddhist, more existential reading, consider the second.
There are two kigo (season words),[3] by the way. nagaki hi, “long day”, and habari, skylark — both kigo for all spring.
In the haiku world, poets traditionally choose pen names. That is, a nom de plume — in other words, a pseudonym. There are many reasons for doing so: to stand out with something more unique than an ordinary name, or to choose something that better reflects one’s philosophy or personal circumstances.
Most classic Japanese haikuists you know, you know by their pen names — not their birth names. Bashō’s real name was Kinsaku, later Munefusa (it was common to change names a few times during one’s life back in his day). He picked Bashō, which means “banana tree”, because his rustic hut, built by his students, had a banana tree planted next to it.
Issa, the pen name of Nobuyuki, means “one cup of tea”. I’ve never seen a reason given for this name, but it reflects his personality: warm and simple. Both Issa and Bashō used other pen names over their lives, but the ones we remember them by were their final ones.
One of my favorite poets, Santōka, used just a single pen name, chosen from a Chinese system of elemental divination. His real name was Shōichi. Santōka means “mountain fire”, though scholars often interpret it as Cremation-ground Fire — a reference, perhaps, to his lifelong trauma from witnessing his mother’s suicide.
I’ve long been searching for a pen name of my own. One of my favorite haiku translators and commentators, Robin D. Gill, uses the name Keigu (敬愚), which humorously means “Yours foolishly” — a pun on the standard closing 敬具 (keigu), meaning “Yours truly”. It’s the perfect pen name for him. In addition to haiku, he dives deeply into comedic senryū and the cruder bareku.[1]
Using the same Chinese elemental naming system that Santōka drew from, I plugged in my own birth year and got the name 天上火 (Tenjōka) — “Fire in the Heavens”.
Santōka didn’t use the name assigned to his birth year. That would have been 楊柳木 (Yōryūboku) — “Willow Tree Wood”, suggesting flexible, swaying strength. Humble, gentle, and poetic. He instead chose Santōka, for reasons of his own.
In terms of meaning, I prefer Yōryūboku. But in sound? Not so much. It’s okay in Japanese, but nearly unpronounceable for most English speakers unless they’ve heard it spoken aloud first. Even then, that ryū part would be very hard for them.
Tenjōka has the opposite problem: the meaning is a little too dramatic for a humble poet, but the sound rolls easily off the tongue. English speakers would probably read it correctly on first try, guessing that it is something like “ten-joe-kah”. And the meaning — “fire in the heavens” — does have a nice sound to it.
It reminds me of a photo I once took:
That day, a typhoon had just passed. The main rains had ended not long before sunset. It was still sprinkling, still gray, but I grabbed my camera and headed to an open field. I knew from experience: post-typhoon sunsets are often spectacular. I was gambling that the clouds would break just enough in time.
And they did. Not completely — but enough. The sky flared open briefly, and it was breathtaking.
I titled that photo The Fires of Heaven. It’s always been one of my favorite shots.
The phrase might evoke biblical images for some Western readers — but that wasn’t my intent. I was thinking of the title of a Wheel of Time book. Book five, I think. The Fires of Heaven. I don’t remember what happened in the book, but I’ve always liked the title. For me, it suggests those moments of radiant, otherworldly sky: twilight, sunset, sunrise. The red glow of possibility or of reflection.
That in mind, the Chinese horoscope showing me the name Tenjōka for my birthday is kind of serendipity — or as Bob Ross always put it, a “happy accident”. Jung might have had something to say about this synchronicity.
Still, Tenjōka suggests radiance, maybe even prominence. A fire in the sky is hard to ignore. And I don’t feel much of a connection to that. A haiku poet should be humble. Quiet. Not showy.
So I don’t know. I like the name. I also don’t.
But for now, I might try it out. I may sign some of my original haiku with it and see how it sits. Maybe it will grow into itself. Or maybe I’ll find something that fits better later.
Senryū are, more or less, haiku without a seasonal or nature focus, aiming instead for humor. As Blyth put it, they’re about human folly instead of nature. Bareku (“lewd verse”) are a subgenre of senryū, veering into what we might call toilet humor. ↩