Masami Ishikawa - Masami Ishikawa

A kyoka poet, comic writer, and Japanese scholar of the late Edo period. His kyoka was Yadoya no Meshimori, and his pen names were Rokujuen and Goro. He ran an inn in Kodenmacho, Edo (Chuo Ward, Tokyo), and was commonly known as Nukaya Shichibei. His father was famous as an ukiyo-e artist, Ishikawa Toyonobu. Masamune aspired to study, and studied Japanese studies under Tsumura Soan and Chinese studies under Furuya Sekiyo, but as kyoka became popular he became a disciple of Yomono Akara (Shokusanjin) and quickly distinguished himself in kyoka and kyobun. He began by compiling the kyoka books "Taiboku no Haegiwa" and "Futoi no Ne" in 1784 (Tenmei 4), and was a prolific writer, earning him the nickname of Shikatsube no Mago, a rising star in Edo kyoka. However, in 1791 (Kansei 3), he was found guilty of a crime he did not commit in connection with his family business, and was banished from Edo, crying over his misfortune of being forced to live in seclusion in the suburbs for over 10 years. During this time, however, he deepened his knowledge of Japanese classics, writing the dictionary "Gagenshuran" and the commentary "Genchu ​​Yoteki," as well as the kyoka works "Miyako no Teburi" and "Azumanamari," and the elegant style reader "Hida no Takumi Monogatari." During Iimori's absence, Shingao had a monopoly on the world of kyoka, calling it haikai poetry and criticizing the kyoka of the Tenmei period (1781-1789). In response, Iimori fought back with his "Kyoka Hyakunin Isshu" (One Hundred Poets), which was published after the return of Edo to Japan in 1807 or 1808 (Bunka 4/5), insisting that wit and humour should be maintained, and overwhelmed the so-called haikai poetry.

In his later years, he lived in Shinminato-cho, Reiganjima (Chuo-ku, Tokyo), and worked as a professional kyoka poet with his son, Jingairou Kiyozumi, writing many books of kyoka, including the Bandai Kyokashu. He passed away on March 24, leap year 1821.

Poetry is good even if it is poor, but heaven and earth will not move. [Yoshiichiro Hamada]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

江戸後期の狂歌師、戯作者(げさくしゃ)、国学者。狂名宿屋飯盛(やどやのめしもり)、号六樹園(ろくじゅえん)、五老。江戸・小伝馬町（東京都中央区）で旅籠(はたご)を営み、通称は糠屋(ぬかや)七兵衛。父はかたわら浮世絵師石川豊信(とよのぶ)として名高かった。雅望は学を志して、津村淙庵(そうあん)に和学を、古屋昔陽(せきよう)に漢学を学んだが、狂歌流行とともに四方赤良(よものあから)（蜀山人(しょくさんじん)）に入門してたちまち狂歌、狂文に頭角を現した。1784年（天明4）に狂歌本『大木(たいぼく)の生限(はえぎわ)』『太(ふとい)の根(ね)』を編したのを最初に、著述が多く、江戸狂歌の新進として鹿津部真顔(しかつべのまがお)と並称された。しかし1791年（寛政3）家業のことで無実の罪を得、江戸払いとなって近郊に10余年蟄居(ちっきょ)する非運に泣いたが、この間に国学の学殖を深めて、辞書『雅言集覧(がげんしゅうらん)』、注釈書『源注余滴』を著し、また狂文『都の手ぶり』『吾嬬那万里(あづまなまり)』や雅文体の読本(よみほん)『飛騨匠(ひだのたくみ)物語』などを残した。狂歌界は、飯盛の不在中は真顔が独占の形で俳諧歌(はいかいか)と称し、天明(てんめい)期（1781～89）の狂歌を非難したのに対して、飯盛は1807、1808年（文化4、5）ごろ江戸復帰後の『狂歌百人一首』で反撃して機知と笑いを堅持すべしと主張し、いわゆる俳諧歌を圧倒した。

　晩年は霊岸島新湊(しんみなと)町（東京都中央区）に住み、子息塵外楼清澄(じんがいろうきよずみ)とともに職業狂歌師として『万代狂歌集』をはじめ多数の狂歌本を著した。文政(ぶんせい)13年閏(うるう)3月24日没。

　歌よみは下手こそよけれあめつちの動き出してはたまるものかは
［浜田義一郎］

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