One Hundred Poets, One Poem Each

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One Hundred Poets, One Poem Each Page 16

by Peter Macmillan


  waga koi wa

  mono ya omou to

  hito no tou made

  41

  Koi su chō

  waga na wa madaki

  tachinikeri

  hito shirezu koso

  omoisomeshika

  42

  Chigirikina

  katami ni sode o

  shiboritsutsu

  Sue-no-matsuyama

  nami kosaji to wa

  43

  Aimite no

  nochi no kokoro ni

  kurabureba

  mukashi wa mono o

  omowazarikeri

  44

  Au koto no

  taete shi naku wa

  nakanakani

  hito o mo mi o mo

  uramizaramashi

  45

  Aware to mo

  iubeki hito wa

  omōede

  mi no itazurani

  narinubeki kana

  46

  Yura no to o

  wataru funabito

  kaji o tae

  yukue mo shiranu

  koi no michi kana

  47

  Yaemugura

  shigereru yado no

  sabishiki ni

  hito koso miene

  aki wa kinikeri

  48

  Kaze o itami

  iwa utsu nami no

  onore nomi

  kudakete mono o

  omou koro kana

  49

  Mikakimori

  eji no taku hi no

  yoru wa moe

  hiru wa kietsutsu

  mono o koso omoe

  50

  Kimi ga tame

  oshikarazarishi

  inochi sae

  nagaku mogana to

  omoikeru kana

  51

  Kaku to dani

  e yawa Ibuki no

  sashimogusa

  sashimo shiraji na

  moyuru omoi o

  52

  Akenureba

  kururu mono to wa

  shirinagara

  nao urameshiki

  asaborake kana

  53

  Nagekitsutsu

  hitori nuru yo no

  akuru ma wa

  ikani hisashiki

  mono to ka wa shiru

  54

  Wasureji no

  yukusue made wa

  katakereba

  kyō o kagiri no

  inochi to mogana

  55

  Taki no oto wa

  taete hisashiku

  narinuredo

  na koso nagarete

  nao kikoekere

  56

  Arazaran

  kono yo no hoka no

  omoiide ni

  ima hitotabi no

  au koto mogana

  57

  Meguri-aite

  mishi ya sore tomo

  wakanu ma ni

  kumogakurenishi

  yowa no tsuki kana

  58

  Arimayama

  Ina no sasahara

  kaze fukeba

  ide soyo hito o

  wasure ya wa suru

  59

  Yasurawade

  nenamashi mono o

  sayo fukete

  katabuku made no

  tsuki o mishi kana

  60

  Ōeyama

  Ikuno no michi no

  tōkereba

  mada fumi mo mizu

  Ama no Hashidate

  61

  Inishie no

  Nara no miyako no

  yaezakura

  kyō kokonoe ni

  nioinuru kana

  62

  Yo o komete

  tori no sorane wa

  hakaru tomo

  yo ni Ōsaka no

  seki wa yurusaji

  63

  Ima wa tada

  omoitaenan

  to bakari o

  hitozute narade

  iu yoshi mogana

  64

  Asaborake

  Uji no kawagiri

  taedaeni

  arawarewataru

  se-ze no ajirogi

  65

  Uramiwabi

  hosanu sode dani

  aru mono o

  koi ni kuchinan

  na koso oshikere

  66

  Morotomoni

  aware to omoe

  yamazakura

  hana yori hoka ni

  shiru hito mo nashi

  67

  Haru no yo no

  yume bakari naru

  tamakura ni

  kainaku tatan

  na koso oshikere

  68

  Kokoro ni mo

  arade ukiyo ni

  nagaraeba

  koishikarubeki

  yowa no tsuki kana

  69

  Arashi fuku

  Mimuro no yama no

  momijiba wa

  Tatsuta no kawa no

  nishiki narikeri

  70

  Sabishisa ni

  yado o tachiidete

  nagamureba

  izuko mo onaji

  aki no yuugure

  71

  Yū sareba

  kadota no inaba

  otozurete

  ashi no maroya ni

  akikaze zo fuku

  72

  Oto ni kiku

  Takashi no hama no

  adanami wa

  kakeji ya sode no

  nure mokoso sure

  73

  Takasago no

  onoe no sakura

  sakinikeri

  toyama no kasumi

  tatazu mo aranan

  74

  Ukarikeru

  hito o Hatsuse no

  yamaoroshi

  hageshikare to wa

  inoranu mono-o

  75

  Chigiri-okishi

  sasemo ga tsuyu o

  inochi nite

  aware kotoshi no

  aki mo inumeri

  76

  Wata no hara

  kogiidete mireba

  hisakata no

  kumoi ni magau

  oki tsu shiranami

  77

  Se o hayami

  iwa ni sekaruru

  takigawa no

  warete mo sue ni

  awan to zo omou

  78

  Awaji shima

  kayou chidori no

  naku koe ni

  iku yo nezamenu

  Suma no sekimori

  79

  Akikaze ni

  tanabiku kumo no

  taema yori

  more-izuru tsuki no

  kage no sayakesa

  80

  Nagakaran

  kokoro mo shirazu

  kurokami no

  midarete kesa wa

  mono o koso omoe

  81

  Hototogisu

  nakitsuru kata o

  nagamureba

  tada ariake no

  tsuki zo nokoreru

  82

  Omoiwabi

  sate mo inochi wa

  aru mono-o

  uki ni taenu wa

  namida nari keri

  83

  Yo no naka yo

  michi koso nakere

  omoiiru

  yama no oku ni mo

  shika zo nakunaru

  84

  Nagaraeba

  mata kono goro ya

  shinobaren

  ushi to mishi yo zo

  ima wa koishiki

  85

  Yomosugara

  monoomou koro wa

  akeyarade

  neya no hima sae

  tsurenakarikeri

  86

  Nageke tote

  tsuki ya wa mono o

  omowasuru

  kakochigao naru

  waga namida kana

  87

  Murasame no

  tsuyu mo mada hinu

  maki no ha ni

  kiri t
achinoboru

  aki no yūgure

  88

  Naniwa-e no

  ashi no karine no

  hitoyo yue

  miotsukushite ya

  koiwatarubeki

  89

  Tama no o yo

  taenaba taene

  nagaraeba

  shinoburu koto no

  yowari mo zo suru

  90

  Misebayana

  Ojima no ama no

  sode dani mo

  nure ni zo nureshi

  iro wa kawarazu

  91

  Kirigirisu

  naku ya shimoyo no

  samushiro ni

  koromo katashiki

  hitori ka mo nen

  92

  Waga sode wa

  shiohi ni mienu

  oki no ishi no

  hito koso shirane

  kawaku ma mo nashi

  93

  Yo no naka wa

  tsune ni mogamo na

  nagisa kogu

  ama no obune no

  tsunade kanashi mo

  94

  Miyoshino no

  yama no akikaze

  sayo fukete

  furusato samuku

  koromo utsunari

  95

  Ōkenaku

  uki yo no tami ni

  ōu kana

  waga tatsu soma ni

  sumizome no sode

  96

  Hana sasou

  arashi no niwa no

  yuki narade

  furiyuku mono wa

  waga mi narikeri

  97

  Konu hito o

  Matsuho no ura no

  yūnagi ni

  yaku ya moshio no

  mi mo kogaretsutsu

  98

  Kaze soyogu

  Nara no ogawa no

  yūgure wa

  misogi zo natsu no

  shirushi narikeru

  99

  Hito mo oshi

  hito mo urameshi

  ajikinaku

  yo o omou yue ni

  mono-omou mi wa

  100

  Momoshiki ya

  furuki noki-ba no

  shinobu ni mo

  nao amari aru

  mukashi narikeri

  Maps

  1. Famous Locations (Utamakura) in the One Hundred Poets: Heiankyo (Kyoto) and Environs

  2. Famous Locations (Utamakura) in the One Hundred Poets: Regions Beyond Heiankyo (Kyoto)

  Further Reading

  Under ‘Works in Japanese’, names appear in the Japanese order of family name followed by personal name.

  Works in English

  Atkins, Paul S., Teika: The Life and Works of a Medieval Japanese Poet (Honolulu: University of Hawai‘i Press, 2017)

  Bly, Robert, The Eight Stages of Translation (Boston, MA: Rowan Tree Press, 1986)

  Bundy, Roselee, ‘Solo Poetry Contest as Poetic Self-Portrait: The One-Hundred-Round Contest of Lord Teika’s Own Poems’: part 1, Monumenta Nipponica, vol. 61, no. 1 (Spring 2006), pp. 1–58; part 2, Monumenta Nipponica, vol. 61, no. 2 (Summer 2006), pp. 131–92

  Cranston, Edwin A. (trans.), A Waka Anthology, vol. 2: Grasses of Remembrance, (Stanford, CA: Stanford University Press, 2006)

  Fujiwara no Teika, Fujiwara Teika’s ‘Superior Poems of Our Time’: A Thirteenth-Century Poetic Treatise and Sequence, trans. Robert H. Brower and Earl Miner (Stanford, CA: Stanford University Press, 1967)

  ——, Maigetsushō, trans. Toshihiko and Toyo Izutsu, in their The Theory of Beauty in the Classical Aesthetics of Japan (The Hague, Boston and London: Martinus Nijhoff Publishers, 1981), pp. 79–96

  Kato, Eileen (trans.), ‘Pilgrimage to Dazaifu: Sōgi’s Tsukushi no Michi no Ki’, Monumenta Nipponica, vol. 34, no. 3 (Autumn 1979), pp. 333–67

  Keene, Donald, Japanese Literature: An Introduction for Western Readers (Tokyo: Charles E. Tuttle, 1977)

  ——, The Pleasures of Japanese Literature (New York: Columbia University Press, 1988)

  ——, Seeds in the Heart: Japanese Literature from Earliest Times to the Late Sixteenth Century (New York: Henry Holt, 1993)

  Kenko, Essays in Idleness: The Tsurezuregusa of Kenkō, trans. Donald Keene (New York: Columbia University Press, 1967)

  Konishi Jin’ichi, A History of Japanese Literature, vol. 3: The High Middle Ages, trans. Aileen Gatten and Mark Harbison (Princeton, NJ: Princeton University Press, 1991), pp. 214–16

  MacMillan, Peter (trans. and ed.), The Tales of Ise (London: Penguin Books, 2016)

  McCullough, Helen Craig, Brocade by Night: ‘Kokin Wakashū’ and the Court Style in Japanese Classical Poetry (Stanford, CA: Stanford University Press, 1985)

  ——(trans. and ed.), Kokin Wakashū: The First Imperial Anthology of Japanese Poetry: With ‘Tosa Nikki’ and ‘Shinsen Waka’ (Stanford, CA: Stanford University Press, 1985)

  Miner, Earl, An Introduction to Japanese Court Poetry (Stanford, CA: Stanford University Press, 1968)

  ——, Hiroko Odagiri and Robert E. Morrell, The Princeton Companion to Classical Japanese Literature (Princeton, NJ: Princeton University Press, 1958)

  Mostow, Joshua, Pictures of the Heart (Honolulu: University of Hawai‘i Press, 1996)

  Rexroth, Kenneth, One Hundred Poems from the Japanese (New York: New Directions, 1964)

  Works in Japanese

  Ariyoshi Tamotsu, Hyakunin isshu (Tokyo: Kōdansha, 1983)

  Harashima Hiroshi, Hyakunin isshu konjaku sanpo (Tokyo: Chukei Shuppan, 2012)

  Inoue Muneo, Hyakunin isshu o tanoshiku yomu (Tokyo: Kasama Shoin, 2002)

  ——, Hyakunin isshu: Ōchō waka kara chūsei sekai e (Tokyo: Kasama Shoin, 2004)

  Katagiri Yōichi, Utamakura utakotoba jiten (Tokyo: Kasama Shoin, 1999)

  Kubota Jun and Baba Akiko (eds), Utakotoba utamakura daijiten (Tokyo: Kadokawa Shoten, 1999)

  Nakanishi Susumu, Nakanishi Susumu to aruku Hyakunin isshu no Kyoto (Kyoto: Kyoto Shinbun, 2007)

  Oka Makoto, Hyakunin isshu (Tokyo: Sekai Bunkasha, 2005)

  Shimaoka Shin, Hyakunin isshu o aruku (Tokyo: Kōfūsha, 1995)

  Shimazu Tadao, Hyakunin isshu, 2nd edn (Tokyo: Kadokawa Shoten, 1999)

  ——and Kamijo Shoji (eds), Hyakunin isshu kochū shō (Osaka: Izumi Shoin, 1982)

  Shirasu Masako, Watashi no Hyakunin isshu (Tokyo: Shinchōsha, 2005)

  Shogaku Tosho Gengo Kenkyujo (eds), Hyakunin isshu no techō: Kōrin karuta de yomu Hyakunin isshu (Tokyo: Shogakukan, 1984)

  Suzuki Hideo, Yamaguchi Shin’ichi and Yoda Yasushi, Genshoku Ogura hyakunin isshu (Tokyo: Bun’eidō, 2004)

  Tani Tomoko, Karā-ban Hyakunin isshu (Tokyo: Kadokawa Gakugei Shuppan, 2013)

  Glossary

  chōka: A poem of variable length made up of alternating lines of five and seven syllables and ending with a couplet of two seven-syllable lines.

  engo (associative words): Clusters of semantically related words may be embedded within a poem and highlighted through punning or another rhetorical device to give supplementary meanings and as a show of verbal artistry intended to surprise and delight the reader. One example is poem 19, where the word yo – both a ‘node’ on a bamboo stalk or reed and ‘life’, ‘the world’ – is an associative word for ashi (reed). Another example can be found in poem 27, where wakite (to spring) is an associative word for izumi (spring). Such words assist in creating complex layers of meaning in a poem, fusing the external landscape and internal state of mind into one. In a similar vein, editors of poetry collections (kashū) would arrange poems in sequences so that they resonated lexically in some way, creating unified clusters of poems that were originally discrete. We can find such examples in the One Hundred Poets – see the Introduction, here.

  Gosenshū (Gosen wakashū; Later Collection of Waka Poems): Usually shortened to Gosenshū, this collection, compiled in 951, is the second of the imperially commissioned waka anthologies. Compared to the Kokinshū, it features more poems by women and a much larger number of poetry ex
changes (zōtōka). The prose headnotes (kotobagaki) are much longer and more elaborate, reflecting the literary preferences of the age.

  Goshūishū (Goshūi wakashū; Later Collection of Waka Gleanings): An imperial waka anthology compiled in 1086 by Fujiwara no Michitoshi (1047–99), who also wrote the preface to it.

  haiku: Formally, a short poem consisting of seventeen syllables, 5-7-5; see the Introduction, here.

  jokotoba (preface): The initial segment of a poem serving as a ‘preface’ to a word introduced later in the poem, to which it is linked via homophony or metaphor. When the first two or three lines of a poem provide an ornamental opening often focusing on aspects of the landscape the poem is said to be a preface-poem (joka) and the first two lines are called a ‘preface’ (jokotoba). Typically, the initial segment is linked to what follows via sound repetition or metaphor. Poem 39 is an example. When the preface is unrelated semantically to the content of the main part of the poem, it gives rise to two distinct layers of meaning within the same short poem. A textbook example appears in the third poem of Episode 23 of The Tales of Ise:

  As the wild winds blow

  and the white waves rise,

  I think of you

  crossing Mount Tatsuta

  all alone by night.

  (Kaze fukeba / oki tsu shiranami / Tatsuta-yama / yowa ni ya kimi ga / hitori koyuran)

  The first two lines, ‘As the wild winds blow / and the white waves rise’, serve as a preface for tatsu (to rise), which is also the first part of the word of ‘Tatsuta’ as it appears in Tatsuta-yama or Mount Tatsuta.

  kakekotoba (literary pun): Variously defined in dictionaries of classical Japanese poetry, this term is most commonly taken to mean a form of punning, but whereas a straightforward pun – equivalent to the word dajare in modern Japanese – might be viewed as light-hearted and comical and a rather low-grade form of verbal play, the kakekotoba in classical Japanese poetry was used to display the highest level of verbal and poetic artistry. That said, there are cases where the punning can be quite humorous, light or even mildly bawdy.

  The device does function primarily as a pun, but one that may operate on many levels. Though sometimes the pun can be conveyed by a single word, in many cases it can apply to several lines, so that a string of words or phrases may be punned together. Thus it is possible for several lines of a waka poem to give two completely different readings, one that provides the basic message of the poet and the other a form of highly refined verbal decoration often depicting a visual image. This second reading might be related to the main message or it might be a separate pun, or series of puns, with a purely decorative function. The intention was to create a multi-layered effect of great complexity in order to convey the depth of the poet’s emotion in a refined and artistic manner. The Japanese language has many homophones and similar-sounding words, which makes such complicated punning possible – wordplay of a kind that would be extremely difficult to simulate in English – and Heian poets deployed the kakekotoba to full effect in their verse. A classic example is poem 16, with the pun matsu (to wait for someone) and matsu (pine tree), which, as it happens, is also one of the rare puns that happens to work perfectly in English.

 

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