Sarumino (published in the seventh month of Genroku 4 [1691]), edited by Kyorai and Bonchō, is known and highly acclaimed as a collection to which Basho made extensive contribution. On reading the first volume, the collection of hokku, I have a sense that its greatest characteristic lies in the ingenuity of its arrangement (“tsuzuki” derived from “moyō” [pattern by continuation] as in “Haikai Senshū-hō” (Rules of Haikai Collection) of Uda-no-hōshi). However, that has gone almost unrecognized in research to date. There has been a tendency to associate it with its unusual categorization of “winter, summer, autumn, spring”, and to discuss elements such as the final form of “sabi” in the winter category, and the trend for “karumi” in the spring category. This paper, however, gives specific examples from the collection of hokku in Sarumino, to reveal how it has been edited with focus on its arrangement. It also advocates the importance of disregarding whether it is winter or spring, moving away from the terminology with no fixed definition such as “sabi” and “karumi”, and carefully reading the sequence of the verse itself.

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