CLASSIC AESTHETIC TANKA POST NO. 6

>Commentary by Mutsuo Shukuya>
In posts, 1, 2, 3, 4 and 5, I discussed tanka which illustrate the concept of aestheticism in that authors express pleasure towards the restoration of authority in the Imperial Palace, especially at the most prosperous period of the Imperial Family both in name and reality. I furthermore discussed tanka by poets who expressed the impressions they had of the beauties of every season under the standard concept of composing aesthetic tanka.

Now, I would like to introduce poems by poets who lived during the period in which emperors lost political power to the Fujiwara family. Among these poets, there were some who composed not only using several techniques of tanka composition but also expressing their real message on top of their literary content. Furthermore, they were famous authors of literary works in those days.

These tanka are all selected from among the eight anthologies: Kokin, 2nd - Gosen, 3rd - Shui, 4th - Goshui, 5th- Kinyo, 6th - Shika, 7th - Senzai and 8th - Shin-Kokin. I have chosen two tanka from the 3rd and 8th anthologies. I have previously provided the background of the 8th of the eight anthologies so I will do so now for the 3rd anthology, Shui.

The 3rd t anthology, Shui (1006), is said to have been compiled by Emperor Kazan himself (the 65th, term 984-986) or Nagayoshi Fujiwara (949-1019?) and Michinari Minamoto (?-1019) during the period of Emperor Ichijyo (the 66th, term 986-1011).

I would also like to explain two poems by the mother of Michitsuna Fujiwara - 053 (937?-995), which appeared in the Shui (1006) anthology, and by Takako Fujiwara (?-996), which appeared in the Shin-Kokin (1205) anthology.

Both poetesses appear in the family trees, which are attached in the following file: 3 family trees Fujiwara 1, Fujiwara 2 and Takanashi.
http://homepage3.nifty.com/PLABOT/Fujiwara2.html.

When you examine them in detail, you can clearly find what positions they have.

The following poems were composed by poets or poetesses who lived during the most prosperous period of the Fujiwara family, which had usurped real political power from the Emperors, throwing other families into a crisis, as you can recognize on viewing the family trees which I show in the following attached file: http://homepage3.nifty.com/PLABOT/Fujiwara2.html.

The Fujiwara family had become prosperous and powerful. Fuhito, the son of Kamatari, the founder of the family, established a policy of marrying their daughters to the Emperors, making the daughters empresses and their fathers the grandfathers of succeeding emperors, giving them control of the throne.

The relatives of the Emperor's wife yielded considerable power because the maternal line had been seen as more important since the mists of time in Japan. Polygamy was common in the aristocratic society of Japan and most children were brought up in the wife's residence, except for princes or princesses of Emperors. But the relatives of the wife exercised strong influence when a prince mounted the throne as Emperor.

The grandfather of each empress was in charge of the emperors until they became adults, and supported each emperor after he became an adult. In this position the grandfathers were able to influence the nobles of the Imperial Court.

The grandfather of each Emperor had the power to appoint anyone to any post, so the head of the Fujiwara family appointed his relatives to important posts in order to extend his influence. He was able to do this on the assumption that his granddaughters would be beautiful and become fascinating ladies who were cultured and educated, therefore attractive as imperial wives.

Most members of the aristocracy employed tutors, such as Murasaki-Shikibu [the famous novelist] or Seisho-Nagon [a famous poet], to teach their daughter to compose poems, to play musical instruments such as the Koto and Biwa, and to learn how to sew.

I would like to present poems by two of these famous ladies. The first is a poem by Takako Fujiwara, who became the wife of Michitaka Fujiwara, the head of the Fujiwara family. The other is by the mother of Michitsuna Fujiwara, who became the second wife of Kaneie Fujiwara, who was the father of Michitaka.

[In the next post (7), I will present three poems by three of these ladies. Two of them were home tutors: the poetess, Seisho-Nagon, and the other by Murasaki-Shikibu. The last poem is by a lady who was the daughter of Murasaki-Shikibu. By the way, the daughter of Takako Teishi, whose tutor was Seisho-Nagon, became the Empress of the 66th Emperor, Ichijyo and the daughter of Michinaga Fujiwara, Shoshi, whose tutor was Murasaki-Shikibu, became the second wife of the 66th Emperor, Ichijyo. I would like to explain what tanka these outstanding ladies composed.

Takako Fujiwara who became the wife of Michitaka Fujiwara, the head of the Fujiwara family was the best of these lady poets. She was able to read works written in Chinese, though most women didn't learn this. As her father, Naritada Takashina (923-998) was the most erudite scholar in those days, she had ample opportunity to learn to read Chinese literature, as well as to compose poems and to play musical instruments.

The Takashina family was not in such a high position, so Michitaka Fijiwara's marriage to Takako was not beneficial in terms of political power. Michitaka seemed to have loved her deeply, but she seemed to have hesitated to receive his love, forever thinking of the tendency in those days.

054 Takako Fujiwara (?-996)
Wa su re ji no
yu ku su we ma de wa
ka ta ke re ba
kyo wo ka gi ri no
i no chi to mo ga na

I would rather end
my life today to keep long
his words in my heart:
it's impossible to make
his promise sure for ever.

The author expressed the following in this tanka: I received his promise of love forever but I thought that it must be impossible to be sure so I would rather end my life today to keep long it in my heart. She seemed to have composed it as soon as she met him.

As you can find clearly from the family tree, this poetess, the mother of Korechika Fijiwara (?-996) is Takako Fujiwara herself, daughter of Naritada Takashina. She was so beautiful, fascinating and cultured that she had become an official lady of Emperor Enyu (the 64th , term 969-984).　And she became the wife of Michitaka Fujiwara who was the head of the Fujiwara family and exercised political power on behalf of each emperor until he became an adult, and supported each emperor afterwards.

The other is a poem by the mother of Michitsuna Fujiwara 053 (937?-995) which appeared in the 3rd anthology, Shui (1006). This poem expresses the same feelings as the poem by Takako—that is, she was not contented with her love for her husband, Kaneie Fujiwara although she was surely one of the three most beautiful ladies, as well as one of the best poetesses in the middle period of Heian and daughter of Tomoyasu Fujiwara, because she was not the first lady of Kaneie Fujiwara. She was only one of his wives and had only one son, Michitsuna. She wrote of her life with Kaneie in her literary work, "Kagero-Nikki" or 'Diary named Kagero.' She composed this tanka to express the loneliness of her life with her husband.

>053 Mother of Michitsuna(937?-995)
Na ge ki tsu tsu
hi to ri nu ru yo no
a ku ru ma wa
i ka ni hi sa shi ki
mo no to ka wa shi ru

Do you never know
how long night lasts before
you open the door
for me to wait sleeping and
weeping for you, I wonder?>

She wrote the following in her diary: As my husband didn't visit me for three nights, I had my servants shadow him, and found that he visited a woman who lived in a house which stands along the narrow pavement. Around dawn, after two or three days passed, my husband knocked on the door but I did not let my servant open it and sent him away. I then sent him a letter with this tanka.

Today in Japanese society, most children are forced to study hard for entrance examinations in order to succeed in the real world. While most excellent, beautiful ladies in the distant past were also forced to study hard for their father to get political power.

Aesthetic Tanka in Praise of the Emperor

Post No.5
Commentary by Mutsuo ShukuyaI noted in Posts 1, 2, 3 and 4 that there are several aspects of composition used in Fujiwara's famous tanka collection. One of them was to praise the most prosperous period of the Imperial Family both in name and reality.
That is to say, the tanka I introduced illustrated the concept of aesthetic tanka in that they express pleasure and a grave attitude towards the restoration of authority in the Imperial Palace, which was gradually lost to the Fujiwara family who yielded political power on behalf of the samurai class.
This time, I would like to introduce poems by poets from these periods that were composed under the standard concept of composing aesthetic tanka expressing their pleasure and grave attitude despite the emperor having lost all power.
These tanka are all selected from among eight anthologies, that is, 1st Kokin, 2nd Gosen, 3rd Shui, 4th Goshui, 5th Kinyo, 6th Shika, 7th Senzai and 8th Shin-Kokin. This time, I chose 5 tanka from among the 5th, 6th, 7th and 8th anthologies.
I have previously provided outlines of the 5th, 6th, 7th of the eight anthologies so I will do so now for the 8th anthology, Shin-Kokin.
The 8th of the eight anthologies, Shin-Kokin (1205) was compiled by six poets, including Michitomo Minamoto (1171-1227), Ariie Rokujyo (?-?), Teika Fujiwara (1162-1241), Ietaka Fujiwara (1158-1237), Masatsune Kasugai (1170-1221) and the monk, Jyakuren (1139-1202) and ordered by Emperor Go-Toba (the 82th, term 1185-98). This anthology is said to have been compiled following the concept of Kokin, and became a role model for Shin-Kokin.
Furthermore, in this anthology, compilers tried to summarize the other 7 anthologies after Kokin and keep or revive the code of Kokin by excluding other short poetry forms, such as Renga and Imayo, which had become popular in those days. They tried to continue the traditional standard concept of composing aesthetic tanka, which Kokin maintained, and introduce this elegant and gorgeous world to the readers.
This anthology introduces the newest of the three styles, Manyo, Kokin and Shin-Kokin, and its concept had a great effect on later short poetry forms, such as Renga, Haikai and Yokyoku, which is the script of Noh plays.
Now, I would like to introduce and explain poems by Kanemasa Minamoto 078 (?-1116-?) which appeared in the 5th anthology, Kinyo (1126); by Tadamichi Fujiwara 076 (1097-1164), which appeared in the anthology, Shika (1151); a poem by Sanesada Fujiwara 081 (1139-1191), which appeared in the anthology, Senzai (1188) ; and last, 2 poems by Akisuke Fujiwara 079 (1090-1155) and Monk Jyakuren 087 (1139-1202), both of which appeared in the anthology, Shin-Kokin (1205).

078 Kanemasa Minamoto（?-1116-?)
A wa ji shi ma
ka yo fu chi do ri no
na ku ko we ni
i ku yo ne za me nu
su ma no se ki mo ri

Many, many nights
have the nightwatchmen woken
to hear the plovers
crying while they come and go
between here and Awaji.

Reference:
(11) Tanka in November（20002）平成14年
http://homepage3.nifty.com/PLABOT/plimer_course47.html

In this tanka, the author tries to express how many nights the night watchmen never slept in order to listen to hear the plovers crying while they came and went between here and Awaji. There are various kinds of plovers, each with a different voice, though all are sorrowful. These have been the subject of poetry and art from the mist of time in Japan.
The following tanka by Kakinomoto Hitomaro(?-708) shows that the voice of plovers bears sorrowful tones:

Whenever I hear
your voice, you weeping plover,
I'm reminded of
my old sorrowful affairs
on the Oumi lakeshore.

This poem is by Tadamichi Fujiwara 076(1097-1164) which appeared in the anthology, Shika (1151).

076 Tadamichi Fujiwara (1097-1164)

Wa ta no ha ra
ko gi i de te mi re ba
hi sa ka ta no
ku mo yi ni ma ga fu
o ki tsu shi ra na mi

When I look forward
in the distance from the boat,
which I am rowing,
the white waves rise so deeply
that I mistake them for clouds.

Reference:
(8) Tanka in August （2000）平成12年
http://homepage3.nifty.com/PLABOT/plimer_course20.html

In this tanka, the author tries to express how splendid the white waves which rise so deeply look in the distance when he watches them from the boat he is rowing. When I read the explanation written before this tanka, he seems to have composed this on the theme: “The landscape in the distance on the ocean.” When I read the poem referring to this point, he seems to have composed it in due consideration of the meaning of this theme.
This tanka is one of the best tanka in which the author provides a detailed description of the landscape. It reminds readers of the typical comfortable atmosphere which we can never get except upon the grand ocean, as well as being composed as if he drew a picture.
Regarding the techniques of tanka composition, the word, “Hisakatano” or ‘Eternal’ which modifies such words as light, clouds, sky and heaven, is used in the Japanese version. Another technique is to give the readers a spiritual aftertaste after they read tanka, called “Taigendome” or ‘end-stopping of lines by a noun.’ That is to say, this one ends with the word, “shi ra na mi” or ‘the white waves.’
Next, I would like to introduce a poem by Sanesada Fujiwara 081, 1139-1191）which appeared in the anthology, Senzai (1188).

081 Sanesada Fujiwara 1139-1191）
Ho to to gi su
na ki tsu ru ka ta wo
na ga mu re ba
ta da a ri a ke no
tsu ki zo no ko re ru

When I look of in
the direction that cuckoos
call to each other,
only the pale moon remains
at dawn instead of their shades.

In this tanka, the author tries to express how glad he is to hear the cuckoos, whose voice he has longed for, call to each other at dawn when only the pale moon remains, and to watch the landscape on an early summer morning, which reminds one of its fresh and clear atmosphere. Words such as cuckoo and deutzia are typical season words of early summer, as warblers and plum blossoms are typical of early spring.
So in this tanka, the author tries to help readers recall the scene in early summer. Furthermore, he composes this tanka giving aural and visual images to the reader of the grand space and at the very moment of dawn without any techniques of tanka composition.
Lastly, I would like to introduce 2 poems by Akisuke Fujiwara 079(1090-1155) and by Monk Jyakuren 087(1139-1202) both of which appeared in the anthology, Shin-Kokin (1205).

079 Akisuke Fujiwara(1090-1155)

A ki ka ze ni
ta na bi ku ku mo no
ta e ma yo ri
mo re i zu ru tsu ki no
ka ge no sa ya ke sa

Through breaks in the clouds
as they are torn by the wind
the moonlight shines out
at intervals this evening
how brilliantly it seems now!

Reference:
(3) The aesthetic tanka
http://homepage3.nifty.com/PLABOT/plimer_course3.html
(8) Tanka in August（2001）平成13年
http://homepage3.nifty.com/PLABOT/plimer_course32.html

In this tanka, the author tries to express how brilliantly the moonlight shines through breaks in the clouds as they are torn by the wind at intervals that evening. Most readers are apt to regard the moonlight which shines high above in the clear sky as brilliant, but this author preferred the moonlight which shines out through breaks in the clouds as brilliant in this tanka. Although this tanka is composed with simple description of the landscape, without using any techniques of tanka composition, it is typical of the excellent tanka in which one admires the beauty of nature, and convey one's feelings about the seasons.

087 Monk Jyakuren (1139-1202)

Mu ra sa me no
tsu yu mo ma da hi nu
ma ki no ha ni
ki ri ta chi no bo ru
a ki no yu fu gu re

The mist which arose
before the raindrops upon
leaves of podocarps,
which stand in the deep mountains,
dries off this autumn evening.

In this tanka, the author tries to express how refreshed he felt after an autumn evening shower as the mist rose before raindrops on leaves of podocarps, which stand in the deep mountains, dry off.
I like this tanka best among all classical tanka because in my childhood I often went into the deep mountains near my village where I often experienced watching the mist arise as soon as a shower stopped, as this author describes a similar scene. Most people who have lived in the countryside would be reminded of the deep feeling of refreshment after they read this tanka.
In posts, 1, 2, 3, 4 and 5, I have discussed tanka by poets who expressed the impressions they had of the beauties of every season in their tanka under the standard concept of composing aesthetic tanka. But from the next post, I would like to introduce poems which are composed not only using several techniques of tanka composition but which also express their real message as well as literary contents. So, I hope readers will look forward to reading my explanations of each tanka.


（Fujiwara Family Tree）
11 12 13 50
Michitaka Mutsuo
兼家─┬道隆─┬伊周───………………──睦夫
│ └隆家
│ 12 13 14 15 16 17
Michinaga Morozane Tadazane
├道長┬頼道─師実─師道┬忠実┬忠通76
Yorimichi Moromichi Tadamichi 76
│ 　 ├家政Iemasa
│ └家隆Ietaka98
├長家─忠家─俊忠┬俊成83┬定家97
│ └寂蓮87
│ Jyakuren 87
└豪子───実定81
Sanesada 81

Styles of Tanka During the Fujiwara Era

Commentary by Tanka Poet Mutsuo Shukuya<
I noted in Posts 1, 2 and 3 that there are several aspects of composition used in Fujiwara's tanka collection. One of them was to praise the most prosperous period of the Imperial Family both in name and reality. I explained this by introducing tanka that illustrate it.

But during this period of tanka composition the Emperor gradually lost authority and was replaced by the head noble of the Fujiwara family who yielded political power on behalf of the samurai class.

Ironically, both people in the Imperial family and the court nobles had large incomes and enough free time to compose tanka.

This time, I would like to introduce poems by poets from these periods that were composed under the standard concept of composing aesthetic tanka expressing their pleasure and grave attitude despite the emperor having lost all power.

These tanka were all selected from among eight anthologies, that is, 1st Kokin, 2nd Gosen, 3rd Shui, 4th Goshui, 5th Kinyo, 6th Shika, 7th Senzai and 8th Shin-Kokin.This time, I chose 5 tanka from among the 4th, 5th, 6th and 7th anthologies.
As a note, I provide an outline of these anthologies below: The 4th of the eight anthologies (1086), Goshui, was compiled by Michitoshi Fujiwara (1047-1099) and ordered by Emperor Shirakawa(the 72nd , term 1073-87). The 5th of the eight anthologies (1126), Kinyo, was compiled by Toshiyori Minamoto (1055-1129) and ordered by Emperor Shirakawa(the 72nd , term 1073-87).

The 6th of the eight anthologies (1151), Shika, was compiled by Akisuke Fujiwara（1090～1155）and ordered by Emperor Sutoku (the 75th , term 1123-42). The 7th of the eight anthologies (1188), Senzai, was compiled by Shunzei Fujiwara (1114-1204) and ordered by Emperor Go-Shirakawa (the 77th , term 1155-58).

The two poems by Masafusa Oe 073(1041-1111) and by Nagayasu Tachibana 069 (988-1050) appeared in the anthology, Goshui (1086), a poem by Tsunenobu Minamoto 071(1016-1097) appeared in the anthology Kinyo (1126), a poem by Ise no Taifu 061 (989-1060), appeared in the anthology, Shika (1151), and last, a poem by Sadayori Fujiwara 064(995-1045), appeared in the anthology, Senzai (1188).

First I would like to introduce two poems by Masafusa Oe (1041-1111) and by Nagayasu Tachibana (988-1050), who was called Monk Noin, both of which appeared in the anthology, Goshui (1086)

073 Masafusa Oe
(1041-1111)
Ta ka sa go no
wo no he no sa ku ra
sa ki ni ke ri
to ya ma no ka su mi
ta ta zu mo a ra na mu

As cherry blossoms
begin to come to full bloom
upon the peaks of
high mountains in the distance,
I hope the mists never rise.

Reference:
(6) Tanka in June 　（2000）平成12年
http://homepage3.nifty.com/PLABOT/plimer_course18.html

In this tanka, the author tries to express how beautiful the cherry blossoms are in full bloom on the peaks of high mountains in the distance and because of this, he asked the mists that normally obscure them rise never to do so, as if they were human beings. This technique of tanka composition is called "Gijin-ho" or 'personification,' which I have mentioned before.

Furthermore, he uses another technique of tanka composition called “Kugire” composing tanka by dividing the poem between lines. This technique comes in two variants. In this case, he uses a way called ‘Sanku-gire’ to divide between the ‘third and fourth line,’ which was often used in tanka among such anthologies as were published after Kokin-shu. It makes tanka nimble, flowing and elegant. Furthermore, it gives tanka a seven-five rhythm when it is recited.

When I read the explanation written before this tanka, he seems to have composed this on the theme of, “the cherry blossoms which are in full bloom in the distance” and he seems to have composed it when he was invited to a poetry party held in the residence of Moromichi Fujiwara (please refer to the Fujiwara family tree printed below.) who was the 15th descendant of Kamatari Fujiwara, the founder of this family and one of the great-grandchildren of Michinaga Fujiwara.

069
Nagayasu Tachibana
(988-1050)
A ra shi fu ku
mi mu ro no ya ma no
mo mi ji ba wa
Ta tsu ta no ka wa no
ni shi ki na ri ke ri

Most crimson leaves of
Mt. Mimuro are scattered
by the hard tempest
so the Tatsuta River
has become covered with them.

In this tanka, the author tries to express the beauty of the scenery of Mt. Mimuro covered with crimson leaves and the Tatsuta River whose surface is overlaid with a carpet like the colorful splendor of the autumn leaves, without using adjectives such as beautiful or pretty. Furthermore, he uses a technique of tanka composition called "Honkadori" to compose tanka using some phrases from refined tanka composed by old poets. That is to say, he composed this using some phrases from the following refined anonymous tanka from the anthology, Kokin.

Seeing that I see
on the Tatsuta River
many crimson leaves,
a shower must have just dyed
Mt. Mimuro all over.

Next , I would like to introduce a poem by Tsunenobu Minamoto, (1016-1097), which appeared in the anthology, Kinyo (1126).

071
Tsunenobu Minamoto
(1016-1097)
Yu fu sa re ba
ka do ta no i na ba
o to zu re te
a shi no ma ro ya ni
a ki ka ze zo fu ku

The autumn breeze seems
to have just begun blowing
early this evening:
I hear the rice stalks rustling
from the paddy fields
when I stay in my cottage
whose roof is thatched with reed trunks.

In this tanka, the author tries to express how the breeze, which flutters from the paddy fields near his cottage which thatched with reed trunks, on an autumn evening after long summer days during which it was hot every day, relaxing him without any technique of tanka composition.
The author is said to have composed this tanka when he walked into the paddy fields at Sakyo-ku in Kyoto city on the evening of an autumn day, which reminds everybody of typical autumn landscapes.

Next, I would like to introduce a poem by Ise no Taifu, which appeared in the anthology Shika (1151).

061
Ise no Taifu
（989-1060）

I ni shi e no
Na ra no mi ya ko no
ya he za ku ra
kyo ko ko no he ni
ni ho hi nu ru ka na

How pretty they are!:
the double cherry blossoms
which come from Nara,
the capital, are now in
full bloom at the new palace.

Reference:
(9) Tanka in September （2000）平成12年
http://homepage3.nifty.com/PLABOT/plimer_course21.html
(11) Tanka in November （2000）平成12年
http://homepage3.nifty.com/PLABOT/plimer_course23.html

In this tanka the author tries to express how pretty the double cherry blossoms, which were delivered from Nara capital, are in full bloom at the new palace. Although this tanka is so simple for the author to express how pretty the cherry blossoms are, she uses several techniques of tanka composition, which I will discuss later. As mentioned above, there are many tanka in which authors used several techniques of composition in this collection, “100 tanka by 100 poets.” So, I would like to introduce them later as well.
As to this tanka, in those days it was customary in the Imperial Palace for a poetess to be in charge of delivering the cherry blossoms from Nara capital to the new palace in Kyoto. The author had an opportunity to be in charge of it instead of a famous author of the novel, “Genji Monogatari, [Murasaki-Shikibu] although she was a newcomer among the court ladies. Most of them paid attention to her; that is they wondered what tanka she had composed. When they found her tanka above, all of them are said to have been amazed it.

Now, I would like to discuss how excellent her tanka is as a tanka with techniques of tanka composition. First of all, in this tanka the words with number are arranged in 7, 8 and 9 order: “nara,” “yae” and “kokonoe.” A word, “na” means 7, a word, “ya” means 8 and a word, “koko” means 9 in Japanese version. A technique of tanka composition with numbers had been used in the period named mist of time in Japan, which I noted in the preface of my lecture, “Classical Tanka Composition.” These poems become a dialogue between Yamatotake no Mikoto and Hitaki no Okina that they composed at Sakaori no Miya (northern area in Japan):

How many days and
nights have you spent since you left
the new palace, Tsukuba?
by Yamatotake no Mikoto

I have spent nine nights
and also ten days in all
before we got here today.
by Hitaki no Okina

Composing tanka is called "Shikishima no Michi" or 'Way of life' in Japan, while composing haiku is called "Tsukuba no Michi". Haiku dates from this dialog, which the authors composed about Tsukuba. I would like readers to pay attention to how Hitaki no Okina replies not only promptly but also includes the total number (19) of syllables (5/7/7) which are used in this haiku (kata uta). This gives us good evidence of the excellent skills of olden poets.

Next, I would like to explain a technique of tanka composition called “Tuiku” or ‘antithesis’ to give your readers a comfortable rhythm and sense of music about after they read your tanka, as is often used in the Western poetic world. First, the words “no” and “he” are used repeatedly. First, a word with “no” is repeated four times: “inishihe-no”, “nara-no”, “miyako-no” and “koko-no-he.” While the other word “he” is repeated three times: “inishi-he”, “ya-he” and “kokono-he.”

The last one is a technique of tanka composition named “Kake-Kotoba” to remind your readers of something that you want to make them think about after they read your tanka. “Kake-Kotoba” stands for a word which holds two different meanings at once though it sounds the same when we read it. There are four kinds of “Kake-Kotoba.” This time one of them, which holds two different noun meanings is used in this tanka. That is to say, the Japanese phrase, “Kokonohe” means both ‘this or now’ and ‘Palace.’

As I discussed above, this is an excellent tanka using several techniques of tanka composition.

In those days many excellent poetesses had appeared including poetess, Ise no Taifu. They are said to have devised and used original Kana characters instead of Chinese ideographs, which were used by males in those days. Because of this development we can assume that Japan had broken off diplomatic relations with China.
At last, I would like to introduce a poem by Sadayori Fujiwara (995-1045) which appeared in the anthology, Senzai (1188).

064
Sadayori Fujiwara
(995-1045)
A sa bo ra ke
u ji no ka wa gi ri
ta e da e ni
a ra wa re wa ta ru
se ze no a ji ro gi

As the deep mist, which
covers the Uji River,
begins to dissolve,
and wickerwork nets come out
here and there around the dawn.

In this tanka, the author tries to express how refreshed he felt watching wickerwork nets come out here and there on the Uji River after the deep mist began to dissolve around the dawn. As I mentioned before, when one composes tanka on the theme, "Ume", only warblers have been connected with them, although many birds actually visit them. While the wickerwork nets in the Uji River had been used as a tanka theme since the Manyo period when Hitomaro Kakinomoto 660?-720?）did.

You can find this in the literary works such as a novel, “Genji Monogatari” (1001) by Murasaki-Shikibu (978?-1031？, in a diary, “Kagero” by the mother of Michitsuna Fujiwara (937?-995) and a diary, “Sarashina” by a a daughter of Takasue Sugawara (1008-1059?). Furthermore, this river is famous for a residence of Kaneie Fujiwara who was 11th descendant of the founder of te Fujiwara Family, Kamatari Fujiwara (Please refer to the Fujiwara family tree printed below) and a shrine named “Ujino Byodoin.”

I have discussed tanka by poets after the period when Emperors lost authority in the Imperial Palace but they are all poets who expressed the impressions they had in the beauties of every season in their tanka under the standard concept of composing aesthetic tanka.

（Fujiwara Family Tree）11 12 13 50
Michitaka Mutsuo
兼家─┬道隆─┬伊周───………………──睦夫
Kaneie Korechika
│ └隆家Takaie
├道兼Michikane──→
├道綱Michitsuna──→
│ 12 13 14 15 16 17
Michinaga Morozane Tadazane
├道長┬頼道─師実─師道┬忠実┬忠通76
Yorimichi Moromichi Tadamichi76
│ 　 ├家政Iemasa
│ └家隆Ietaka98
│ 13 14 15 16 　17
Nagaie Toshitada Teika97
├長家─忠家─俊忠─俊成83┬定家97
Tadaie Shunzei83└寂蓮87
Jyakuren87

Aspects of Aesthetic Tanka

Commentary by Mutsuo Shukuya
Post No. 3

I noted in Posts 1 and 2 that there are several aspects of composition used in Fujiwara's collection. One of them is to praise the most prosperous period of the Imperial Family both in name and reality. And furthermore, I explained this by introducing tanka which illustrate it.
That is to say, the tanka in this Collection began with those of Emperors Tenchi and Jito in post (1) and I introduced several tanka in post (2) to the readers. These tanka were composed under the standard concept of composing aesthetic tanka, which I discussed above, and they express the pleasure and grave attitude towards the restoration of authority in the Imperial Palace.
This time I would like to introduce poems by Mitsune Oshikochi 029 （859?-925?, Korenori Sakanoue 031 (?-930), Tomonori Kino 033 （845？-907）, Tsurayuki Kino 035 （868？-945）, Fukayafu Kiyohara 036 (?-930-?), which all appeared in the anthology, Kokin (905), and were composed under the standard concept of composing aesthetic tanka, which I discussed above, expressing the pleasure and grave attitude towards the restoration of authority to the Imperial Palace.
By the way, this anthology, Kokin (905) was the first of eight anthologies compiled more than 250 years before Manyoshu (759). It was compiled by such poets as Tsurayuki Kino （868？-945）, Tomonori Kino （845？-907）, Tadamine Mibu (?-907-?）and Mitsune Oshikochi (859?-925?)by order of Emperor Daigo (the 60th, term 897-930).

029
Mitsune Oshikochi
(859?-925?)

Ko ko ro a te ni
wo ra ba ya wo ra mu
ha tsu shi mo no
o ki ma do wa se ru
shi ra gi ku no ha na

I'd like to pick one
of these fine chrysanthemums
flowering so white
so I'd never part from it,
but in vain because of frost.

References: (7) Tanka in July （2000）平成12年
http://homepage3.nifty.com/PLABOT/plimer_course19.html
(9) Tanka in September（20003）平成15年
http://homepage3.nifty.com/PLABOT/plimer_course57.html

In this poem, he tries to pick one of the fine chrysanthemums flowering in his garden but was not able to do so because they were flowering as white as the frost which covered his garden, and he mistakes the flowers for the first frost. He tries to show us his impression of how white the first frost is in his garden.
That is, he uses a technique called "Mitate" - "metaphor" or "simile": frost is used as a metaphor for chrysanthemums as well as a contrast to them.　But a poet of the Meiji Period, Shiki Masaoka (1867-1902) claimed that this tanka is not suitable as an example of excellence because it is impossible for anyone to mistake the white of chrysanthemums flowering for frost.
So, Shiki Masaoka declared that the technique called "Mitate" - "metaphor" or "simile" which Mitsune Oshikochi used is a false device of tanka composition.

I would like to explain the Mitate "metaphor" or "simile" technique from my lecture, (9) Tanka in September（2003） of "Classical Tanka Composition" referring to tanka by Shunzei Fujiwara (1114-1204) and Tomonori Kino（845？-907.

Shunzei Fujiwara
(1114-1204)

The chrysanthemums
flowering along the shore,
where the waterfowl
come together, are so white
that I take them for the frost.

Tomonori Kino
(845？-907）

Whenever I wait
for my love watching flowers,
the chrysanthemums,
I often mistake them for
the sleeves of clothes my love wears.

Both authors, Shunzei Fujiwara and Kino Tomonori, use the same technique, "metaphor": the former uses the frost on waterfowl as a metaphor for chrysanthemums and the latter uses sleeves as a metaphor. Both these tanka must also use a false device of tanka composition for poet Shiki Masaoka, who tried to apply the rules above to all the tanka in the anthology, Kokin.
In ancient Japan, chrysanthemum viewing parties during which people drank sake from goblets in which they floated some of the petals, as well as viewing them, was held on 9th September every year at the Imperial Palace as one event of "The Chrysanthemum Festival".
On those occasions people would compose tanka wishing for or celebrating the long lives of the Emperor and others. That is, the chrysanthemum was then appreciated only during the first part of September, whereas now days we can view it all the time. So, twelve tanka on this theme, including the following one by Mitsune Oshikochi, appear in the Kokin-shu.
As mentioned above, most poets in Kokin composed tanka under the theory "Kokin-denjyu" or the code of tanka composition, so sometimes their tanka are quite different from real phenomena. For example, most poets in Kokin composed tanka on the theme of the plum blossoms referring to warblers. I explained this in my lecture, Junior course II of "Classical Tanka composition".
"Kokin-denjyu", or the code of tanka composition in Kokin, descended from the poet and compiler of Kokin, Tsurayuki Kino, to his disciples, such as Shunzei and Teika Fujiwara who completed the code. For example, when one composes tanka on the theme, "Ume", only warblers have been connected with them, as in the following tanka, although many birds actually visit them.

Hitomaro Kakinomoto
(660?-720?）

All around the hill
covered with plum blossoms, where
my small cottage stands,
lovely warblers sing their songs
telling me of my fortune.

References: [III] Themes for tanka composition(1)
(Junior course I)
(7) Tanka in July （2000）
http://homepage3.nifty.com/PLABOT/plimer_course19.html

[VI]Themes for tanka composition (4)
(Intermediate course I)
(9) Tanka in September（2003）
http://homepage3.nifty.com/PLABOT/plimer_course57.html

That is to say, the poet Shiki Masaoka misunderstood the standard concepts for composing aesthetic tanka which I discussed in my lecture, "Classical Tanka Composition."
In those days "Kokin-denjyu," or the code of tanka composition, was allowed to be taught only to the Imperial Family and court nobles. Most poets were not allowed to learn to compose tanka under this code.
As mentioned in the preface of my lecture, "Classical Tanka Composition", it was not until 1980 that "Kokin-denjyu" was allowed to be taught to other poets, beyond the Imperial Family and court nobles.
So, I tried to open this code on the Web with the help of the Mordern poet, Michihiro Kuromichi. That is to say, I opened my lecture, "Classical Tanka Composition", in which I explain this code in detail on 22 February 2010.
There is an excellent author who is able to truly appreciate the tanka poetry in the anthology, Kokin, and understand the concept of potential sprit, which exist in the words or phrases in each tanka. He is Makoto Ooka (1931-), who wrote the essay, "Kotoba no Chikara" or 'The power of the words'. I would like to recommend that you read his original essay directly.

031
Korenori Sakanoue
(?-930)
A sa bo ra ke
a ri a ke no tsu ki to
mi ru ma de ni
Yo shi no no sa to ni
fu re ru shi ra yu ki

When I look around
all of Yoshino village
just around daybreak,
the snow falls upon the field
as if the moonlight glittered.

References: (12) Tanka in December（20002）平成14年
http://homepage3.nifty.com/PLABOT/plimer_course48.html
(12) Tanka in December（2004）平成16年
http://homepage3.nifty.com/PLABOT/plimer_course72.html

In this tanka, the author tries to express how the snowfall on the fields of Yoshino village brighten so much that he mistakes them for moonlight which glitters around. That is, he uses the moonlight as a metaphor for snowfall as well as contrasting with it.
Yoshino village is said to be famous for the beauty of its cherry blossoms in full bloom in spring and its snowfall in winter. So, this tanka is also a typical example of the excellent poetry composed under the standard concept of composing aesthetic tanka.

033
Tomonori Kino
（845？-907）

Hi sa ka ta no
hi ka ri no do ke ki
ha ru no hi ni
shi zu ko ko ro na ku
ha na no chi ru na mu

Why in such hurry
have cherry blossoms fallen
on this day in spring
when the sun shines so brightly
with the calm breeze fluttering?

References:(2) What is tanka?
http://homepage3.nifty.com/PLABOT/plimer_course2.html
(8) Tanka in August （2000）平成12年
http://homepage3.nifty.com/PLABOT/plimer_course20.html
(3)Tanka in March（20003）平成15年
http://homepage3.nifty.com/PLABOT/plimer_course51.html

In this tanka, the author tries to express how the cherry blossoms have so quickly fallen on a spring day when the sun shines so brightly and the calm breeze flutters, even though he wants them linger much longer in full bloom. He asks the cherry blossoms to linger much longer as if they were human beings. This technique of tanka composition is called "Gijin-ho" or 'personification,' which I have mentioned before. Furthermore, he uses another technique of tanka composition is called "Makura-kotoba" or 'A poetic epithet used as a modifier of particular words.'
In this tanka, the word, "Hisakatano" is used as a modifier of the word, "Hikari" or 'sunlight.' In this Japanese version, readers enjoy and appreciate how elegantly and deeply a word such as "hisakatano" serves as a poetic epithet. So, this tanka is also a typical example of excellent poetry composed under the standard concept of composing aesthetic tanka.

035
Tsurayuki Kino
（868？-945）

Hi to wa i sa
ko ko ro mo shi ra zu
fu ru sa to wa
ha na zo mu ka shi no
ka ni ni ho hi ke ru

As cherry blossoms
smell fragrant year after year
without fail in spring
they are in bloom this year, too
in my own parents' home town.

Reference:(2) What is tanka?
http://homepage3.nifty.com/PLABOT/plimer_course2.html

In this tanka, the author tries to express how only cherry blossoms in full bloom welcomed him when he visited his native village where his parents lived, enjoying the fragrance year after year without fail in spring, even though his neighbors didn't welcome him.
On the other hand, there is a tanka composed by a famous poet, Michizane Sugawara (845-903) who left his hometown, Kyoto, for Dazaifu in Kyushu. In the following tanka, he tried to express how he hopes the plum blossoms will be in bloom without fail when the breeze flutters in spring even if he is not there.

I'd like to hope you,
the plum blossoms are in bloom
without fail in spring
in my own parents' hometown
even if I am not there.

In these tanka, the technique of tanka composition is called "Gijin-ho" or 'personification' is also used again. The former author asks the cherry blossoms to linger much longer as if they were human beings. The latter one asks the plum blossoms to be in bloom without fail when the breeze flutters in spring.

036
Fukayafu Kiyohara
(?-930-?)

Na tsu no yo wa
ma da yo hi na ga ra
a ke nu ru wo
ku mo no i zu ko ni
tsu ki ya do ru ra mu

The day seems to break
despite the shortness of this
summer night and I
wonder how the moon has passed
behind the clouds this evening.

In this tanka, the author tries to express how short the summer night is to search around for the moon which hides behind clouds in the sky even when the day is breaking. Of course, he seems to have continued watching the moon as long as he could.

This time, I have shown some typical tanka composed under the standard concept of composing aesthetic tanka. These tanka are all composed by poets who lived during the term of the 56th Emperor, Seiwa（858? - 876）and the 61th Emperor, Sujyaku（930? - 946）. Those days were the most prosperous period of the Imperial family both in name and reality. And in these poems, the pleasure and grave attitude towards the restoration of authority in the Imperial Palace of the authors are expressed.
#

Tanka Poetry by Past Emperors

Commentary by Mutsuo Shukuya Post No 2
I noted it in the previous essay that there are several aspects of composition used in Fujiwara's collection. One of them is to praise the most prosperous period of the Imperial Family both in name and reality. And furthermore, I explained this by introducing the tanka which illustrate it. That is to say, the tanka in this Collection began with those of Emperors Tenchi and Jito.

Both of these tanka were composed under the standard concept of composing aesthetic tanka, which I discussed above, and they express the pleasure and grave attitude towards the restoration of authority in the Imperial Palace. And I mentioned that these tanka remind me of the poem named "Pippa's song" by the English poet, Robert Browning (1812-89), who composed this poem in 1841. In those days, Great Britain, where he was born, was the Kingdom which dominated the whole European world. So, I noted that the tanka by Emperors Teichi and Jito seem to be similar to this poem by Robert Browning.

This time I would like to introduce a poem by the Emperor which was composed at the most prosperous period of the Imperial Family both in name and reality. That is, it is a poem by Emperor Koko：884-887 (830-887);

015 Emperor Koko

Ki mi ga ta me
ha ru no no ni i de te
wa ka na tsu mu
wa ga ko ro mo de ni
yu ki wa fu ri tsu tsu

When I go into
the meadows to gather fresh
vegetables for you
the snow has begun falling
and I notice flakes on my sleeves.

In this poem, the author seems to have tried to express how he himself makes an effort for his friend or lover to gather fresh vegetables for him/her, even though his sleeves are covered with snow. When some ceremonies are opened, in most cases, they hand a bunch of flowers to others who they want to celebrate or cheer up.

Flowers, which are in full bloom, are said to be the best gift; they give the best sprit to inspire a human's heart. In this poem, the pleasure and grave attitude towards the restoration of authority in the Imperial Palace of the author are expressed.

Next, I would like to discuss other poems by famous poets. Teika Fujiwara (1162-1241 A.D.) compiled this collection in the year 1235 during the Kamakura period when the Emperor himself had lost actual political power, because the Kamakura Shogunate held it in place of each Emperor. Teika Fujiwara had already established the standard concepts for composing aesthetic tanka, which I discussed in my lecture, "Classical Tanka Composition." But even before then, there were many tanka poems which were composed under the standard concepts for composing aesthetic tanka.

So, I would like to introduce such poets as Akahito Yamabe (?-736?), Yakamochi Otomo (718-785), each of whom are very famous poets in the anthology, Manyoshu (759) and Nakamaro Abe (701-770), whose tanka is printed poets in the anthology, Kokinshu(905).

004 Akahito Yamabe

Ta go no u ra ni
u chi i de te mi re ba
shi ro ta he no
Fu ji no ta ka ne ni
yu ki wa fu ri tsu tsu

When I look upward
standing beside Tago Bay,
the snow is falling
on the peak of Mt. Fuji,
which is all dyed perfect white.

Reference: (12) Tanka in December（2004）
http://homepage3.nifty.com/PLABOT/plimer_course72.html

In this poem the author seems to have tried to express the view of Mt. Fuji, which is seen by everybody to be beautiful and solemn. In fact, Japanese people have been awed by the magnificence of Mt. Fuji covered with snow. This tanka is also composed on the theme, “The snow which falls on the mountain”.

006 Yakamochi Otomo

Ka sa sa gi no
wa ta se ru ha shi ni
o ku shi mo no
shi ro ki wo mi re ba
yo zo fu ke ni ke ru

Frosts on the bridge built
to the palace which faces
the bright Milky Way
where magpies stretch their wing tips
let me know it's getting late.

In this poem, the author seems to have tried to express his awareness of its getting so late that frosts have covered the bridge to the palace, referring to the legend that Vega walked across the Milky Way where magpies stretch their wing tips.

007 Nakamaro Abe

A ma no ha ra
fu ri sa ke mi re ba
Ka su ga na ru
Mi ka sa no ya ma ni
i de shi tsu ki ka mo

Whenever I watch
the full moon here in China,
it reminds me of
the moon which I used to see
high above Mt. Mikasa.

In this poem, the author seems to have tried to express his longing for his home country, Nara, in Japan whenever he watches the full moon in China. The moon which he watched must have been so beautiful. This author composed the above when he was in China and furthermore was not able to return to his native country, Japan.

These tanka above were composed in the former era, during which the Imperial Family was the most prosperous both in name and reality. At last in this commentary I would like to introduce the tanka poem by Tadahira Fujiwara (880-949), who had the highest position in the bureaucracy. He showed strong alliance to the Emperor even though he held such a high place in the bureaucracy. He was called Teishiko and made an effort to initiate political reform called "Engi-no-Ji" and got the highest positions, called "Sessho" and "Kanpaku" during the term of Emperor Shuzaku (930-946).

Actually his high position in the bureaucracy continued into the former term of Emperor Murakami (946-967). He was the 9th descendant of Kamatari Fujiwara (614-669). By the way, Teika Fujiwara (1162-1241 A.D.) was the 18th descendant and the author of this commentary, Mutsuo Shukuya(1943- ) is his 50th descendant.

Kamatari -Fuhito--…..Tadahirra--Morosuke--Kaneie—Michitaka--………….Mutsuo
1st 2nd 9th 10th 11th 12th 50th
∟Michinaga--…Teika
12th 18th

026 Tadahira Fujiwara

Wo gu ra ya ma
mi ne no mo mi ji ba
ko ko ro a ra ba
i ma hi to ta bi no
mi yu ki ma ta na mu

Loving crimson leaves,
which cover the whole peak of
grand Mt. Ogura!
I'd like to ask you to leave
yourselves as you are
until I come here again
along with the Emperor.

The author, Tadahira Fujiwara seems to have composed: this when he followed Emperor Uda（the 59th, term 887-897）sightseeing to the Oi river, the Emperor told him that he would like to let his son, Emperor Daigo see this splendid scenery. So, in this tanka poem he asked the crimson leaves, which cover the whole peak of grand Mt. Ogura to stay as they are until he came there again along with Emperor Daigo in order to keep his promise to Emperor Uda.

In this poem the author, Tadahira Fujiwara speaks to the crimson leaves as if he talked with human beings and asked them to leave themselves as they were then. This technique of tanka composition is called "Gijin-ho" or 'personification'. And he tries to express how faithful to the Emperor he himself is. In those days when he was alive, less than 300 years had passed since the Emperor Tenchi but the authority of the Emperor in the Imperial place seems to have never been lost because such an individual as Tadahira Fujiwara was alive.

The Fujiwara family itself had been a typical clan, which was faithful to the Emperor. This poem was the best way to prove how faithful to the Emperor members of his family were.

But an individual who lost this faithful spirit was to rise in the Imperial Place. This was Michinaga Fujiwara (966-1028). The following tanka by him shows his ambition to rule everything beyond the Emperor.

The full moon seems to
leave itself just as it is
in the sky I watch,
as if I will never lose
this position forever.

On the other hand, the tanka by Tadahira Fujiwara shows the best faithful spirit, like Komei Shokatsu who was the most faithful individual in China about 1800 years ago.

But in Japan, the period in which the inferiors supersede their superiors had arrived in those days. That is to say, Michinaga Fujiwara had the power to rule instead of the Emperor and others such as the bureaucracy, who should be faithful the Emperor and soldiers, who should be faithful to the bureaucracy, tried to follow the system expressed above.

But Michinaga and his descendants were to pay a high price instead of retaining the actual political power in the Imperial Palace. They lost their mission to keep in the Imperial Palace. This succeeded to the descendants of Emperor Kazan, who was compelled to yield his throne to another, who was under the influence of Michinaga. That is the Shirakawa King family, which died out after the Meiji Period.

100 Tanka Poems by 100 Poets

Commentary by Mutsuo Shukuya Post No. 1
As I noted in the preface, the collection, "100 Tanka Poems by 100 Poets" is said to have been compiled by Teika Fujiwara (1162-1241 A.D.) in the year 1235 from the original title, "100 Excellent Tanka Poems by 100 Poets." Furthermore, I mentioned that I recognized the following significant point: there are some tanka which deviate from the standard concepts of composing aesthetic tanka, which I discussed in my lecture, "Classical Tanka Composition."

And then, I could not help thinking why Teika Fujiwara had compiled this collection. First of all, one of the points to consider is: what was tanka originally. This point may be summarized as follows: First, the Emperor composed tanka in order to present messages he received from the gods to his people. While people who listened to tanka composed by the Emperor seemed, in reply, to compose tanka in which they admired the beauty of nature, and to convey their feelings about the seasons and their emotions.

Tanka composed by using unorthodox techniques may be very pleasing to people who receive them, but it is difficult to compose tanka using them. This is called Uta-mushiro or 'other ways to compose tanka in order to enjoy it together with others.' From this viewpoint, tanka compiled in this collection, that is to say, classical tanka written in the traditional tanka form which was introduced in the Heian period (about 1000 years ago), is not fundamentally different from Modern Tanka…authors compose it in order to express whatever they choose.

There are several aspects of composition used in Fujiwara's collection. One of them is to praise the most prosperous period of the Imperial Family both in name and reality. It is proven that the tanka in this Collection began with those of Emperors Tenchi and Jito. Emperor Tenchi established a regime in which the Emperor himself ruled everything following a revolution called "Taika no Kaishin," which occurred in 645. Before then, people who were naturalized as Japanese citizens had the real power in the government of Japan. Japan became a puppet state operated by the Soga family, who controlled the real power.

All the ceremonies in the Imperial Palace, in which Shinto forms were accepted had continued since Emperor Jinmu, who established the state of Japan in 660 B.C., were abolished and replaced with Buddhist forms, which the Soga family adopted. In those days the Nakatomi and Mononobe families had been concerned with all Imperial ceremonies since Emperor Jinmu. But both of them were eliminated by the Soga family and the survivors ran away to the Tohoku area.

There were not a few people who disliked the fact that the Soga family rose in the government. Kamatari Nakatomi, who was the president of the other branch of the Nakatomi family, and some people from the Soga family who disliked the others, defeated the Soga family completely and drove them from the Imperial Palace of Emperor Tenchi. This revolution was called "Taika no Kaishin."

Each direct descendant of Amenotanekonomikoto, the first ancestor of the Nakatomi family had conducted all ceremonies in the Imperial Palace, in which Shinto forms were accepted for 1300 years, since Emperor Jinmu. But 50 years had passed during which these ceremonies, in which Shinto forms were accepted, had been abolished and replaced with Buddhist forms which the Soga family adopted.

But as the Soga Family was defeated in the revolution, "Taika no Kaishin," ceremonies in the Imperial Palace, in which Shinto forms were accepted, were revived again. The authority of the Emperor had also been revived again, both in name and reality.

Kamatari Nakatomi, who was the president of the other branch of the Nakatomi family, contributed greatly to this revolution.　He was given the family name Fujiwara, instead of Nakatomi, in reward for his contribution to this revolution. And he was respected as the founder of the revival of the ceremonies in the Imperial Palace, in which Shinto forms were accepted, and his shrine, called Danzan-Jinjya was constructed.

The first emperor and empress after the authority of the emperor had been revived again in both name and reality of were Tenchi and Jito. So I would like to introduce two tanka by Tenchi and Jito, who revived the real authority of the Emperor:

001 by Emperor TenchiA ki no ta no
ka ri ho no i ho no
to ma wo a ra mi
wa ga ko ro mo de wa
tsu yu ni nu re tsu tsu

Everyone who views
the paddies from the cottage,
whose thatched roof is
roughly meshed, will find his sleeves
are always quite wet with dew.

002 by Empress JitoHa ru su gi te
na tsu ki ni ke ra shi
shi ro ta he no
ko ro mo ho su cho fu
a ma no ka gu ya ma

Spring already gone
and summer seems to have come
for summer costumes
flutter now on Mt. Kagu
as they have done year by year.

Reference (1): The beginning of tanka poetry
http://homepage3.nifty.com/PLABOT/plimer_course1.html


The tanka by Tenchi means that when he stayed at the cottage to watch the paddies all through night, even he will find his sleeves wet with dew, just as farmers experience every year. Through this tanka, he tries to express his thanks to all farmers.

The tanka by Jito means that spring has already gone and summer seems to have arrived at her village, because summer costumes are fluttering on Mt. Kagu as they have done year by year. She composed it on the theme, "A seasonal change of clothing," that is to say, she tries to express her pleasure at the arrival of summer in her village, where she views Mt. Kagu.

Both of these tanka were composed under the standard concept of composing aesthetic tanka, which I discussed above, and they express the pleasure and grave attitude for the restoration of authority in the Imperial Palace. So, these tanka remind me of the following poem named "Pippa's song" by the English poet, Robert Browning (1812-89):

The year's at the spring
And day's at the morn;
Morning's at seven;
The hillside's dew-pearled;
The lark's on the wing;
The snail's on the thorn;
God's in his heaven ―
All's right with the world!

Robert Browning composed this poem in 1841. In those days, Great Britain, where he was born, was the Kingdom which dominated the whole European world. It is said that a poet express the feelings of other people. So he expresses the feelings of the white people including Europeans and Americans in this poem, I think. If Japan hadn't won the war between Japan and Russia, "All's right with the world!" would have also applied to their people.

The tanka by Emperors Teichi and Jito seem to be similar to this poem by Robert Browning.

100 Tanka Poems by 100 Poets

100 Tanka Poems by 100 Poets
Compiled by Teika Fujiwara
Commentary by Mutsuo Shukuya

The collection 100 Tanka Poems by 100 Poets is said to have been compiled by Teika Fujiwara (1162-1241 A.D.) in the year 1235. The original title, according to another authority, was "100 Excellent Tanka Poems by 100 Poets." Fujiwara compiled the poems to show to Sanetomo Minamoto, the third shogun of the Kamakura shogunate, as his tanka mentor.

I learned classical tanka theory from the Reizei Family in Kyoto, which has continued the concept created by Teika Fujiwara. That is, I learned it from my tanka mentor, Fumiko Reizei, who is the 26th descendant of Teika Fujiwara who formulated the method of composition of aesthetic tanka called in Japanese "Kokin-denjyu." In February 2010, I published my lecture, Classical Tanka composition in English on the Internet.

In this lecture I introduce about 20 tanka from 100 Tanka Poems by 100 Poets. The origin of this lecture was my previous "Classical Tanka Composition", which appeared serially in the monthly bilingual magazine, Plaza Plaza. But at that time, I commented on the English translations by James Kirkup.

In order to prepare this commentary, I translated the 20 tanka myself, and later I began translating the rest of the collection.

More than half of all Japanese are probably ignorant of the real meanings of the tanka in this collection. I myself had not been aware of their real or deep meanings before I finished translating them. But I must understand each tanka deeply in order to translate it into English. Therefore, I studied the meaning which each author wanted to express. After I finished examining all the tanka, I recognized the following significant point: there are some tanka which deviate from the standard concept of composing aesthetic tanka, which I discussed in my lecture, "Classical Tanka Composition” mentioned before.

And then, I could not help thinking why Teika Fujiwara had compiled this collection. First of all, one of the thinking points is: what was tanka originally. I noted in the chapter of Primer course in my lecture "Classical Tanka Composition” that this point may be summarized as follows: First an Emperor composed tanka in order to present messages he received from the gods to his people. While people who listened to tanka composed by the Emperor seemed, in reply, to compose tanka in which they admired the beauty of nature, and to convey their feelings about the seasons and their emotions.

Tanka composed by using some techniques, which I noted in chapter [III] Themes for tanka composition (1) (Junior course I) of in my lecture, "Classical Tanka Composition” will be very pleasing to people who receive them although it is difficult to compose tanka using them.

One of them, Oriku or 'acrostic', is to insert each syllable of a five syllable word into the head of each line of your five-line tanka. This reminds your readers of some image beyond the words themselves. This is called Uta-mushiro or 'other ways to compose tanka in order to enjoy it together with others.'

From this view point, tanka compiled in this collection, that is to say, classical tanka written in the traditional tanka form which was introduced in the Heian period (about 1000 years ago), is not fundamentally different from Modern Tanka…authors compose it in order to express whatever they choose.

There are several aspects of composition used in Fujiwara’s collection. One of them is to praise the most prosperous period of the Imperial Family both in name and reality. It is proven that the tanka in this Collection began with those of Emperor Tenchi and Jito. Emperor Tenchi established a regime in which the Emperor himself ruled everything through a revolution called "Taika no Kaishin", which occurred in 645. Before then, people who were naturalized as Japanese citizens had the real power in the government of Japan. The last two tanka in the Collection were composed by Emperor Gotobain, who schemed to overturn the government of the Kamakura Shogunate, and his third son, Jyuntokuin, who continued his father's scheme. Both of them were ordered to go into exile on Oki Island (Gotobain) and Sado Island (Jyuntokuin) as criminals.

Furthermore, a tanka by Sanjyoin, who was the 77th Emperor, is significant to understand the aspect which I discuss above. The author, who had been Emperor in name only, composed his poem in this collection when Michinaga Fujiwara, who already held actual political power, compelled him to yield his throne to another, who was under the influence of Michinaga. So, he regarded this world as harsh. Furthermore, he seemed to have suffered from a serious illness.

Originally, the Fujiwara Family had maintained their status by supporting each Emperor one after another. But Michinaga held actual political power and also broke the custom of the eldest son of each Family holding the right of succession. That is to say, this Collection is of poets who were alive during the Emperor's reign, which was prosperous. The first poet is Emperor Tenchi, who returned to political power from the Soga Family along with Kamatari Nakatomi. So, Emperor Tenchi offered to change his Family name from Nakatomi to Fujiwara. But the last poet, Emperor Jyuntoku-in had lost actual political power because the Kamakura Shogunate held it in place of each Emperor.

In other words, this Collection of 100 poems symbolizes several things. One of them is the totality of the universe. Another is the ups and downs of all things in this world. Another is the proper order of all lives in this world. And the last is all phenomena of all lives. Therefore, the compiler, Teika, is said to have chosen each tanka as a factor for fortune-telling by an expert.

To begin with, fortune-telling in Japan, called Futomani, is said to have been a tanka collection compiled by an ancestor of the Imperial Family, Amateru-Kami. Each tanka had been written with a character called Katakamuna, which was used in olden times before the Hotsuma-character was used.

Teika Fujiwara is said to have been inspired by the collection of Amateru-Kami to compile the Collection. There are only 64 factors of fortune-telling in China called Eki. So, fortune-telling in Japan called Futomani seems to be more detailed than that of China. When one considers the Collection by Teika from this viewpoint, it is not strange that there were some tanka which deviate from standard concepts of the composition of aesthetic tanka: In order to tell the fortune of a person, there must exist not only good things but also ill ones in fortune-telling.

Why has this Collection remained so popular in Japan, even though it contains ugly tanka in which authors express deep sadness or grumbling or cursing? Each of the tanka in it may be composed using various techniques such as Makura-Kotoba, to modify the other special words, Kake-Kotoba, which stands for a word that has two different meanings although it sounds the same when we read it, Engo or a related word, and Utamakura, to compose tanka by quoting the same place names which old poets often used in their tanka on the same themes.

Also, Honkadori, to compose tanka using some phrases from refined tanka which old poets composed to give their readers a spiritual aftertaste.

Tanka originally had a musical effect on its readers. This is used in a card game called Karuta and now most junior high school students enjoy playing this game in school as one of the popular events. Furthermore it is also used as a text to study olden Japanese. Therefore, most people around the world might enjoy reading this Collection. So in forthcoming Posts, I will comment on each tanka, explaining their special meanings and significance.

How to Escape the Ill-Effects of Reality!

Tanka Poetry by Yoshihiro Kuromichi
Post No. 4
Commentary by Mutsuo Shukuya

"How to Escape the Ill-Effects of Reality.”

Recently there have been some strange phenomena, such as the earthquake which occurred in the Shikai area in China and the eruption of a volcano in Iceland. These phenomena relate to the poems I discuss in this article because the latter incident impacted on people all over the world…especially about 30 countries in Europe.

No planes were able to take off or land in many areas of Europe for several days. Of course, in Japan all planes bound for England, France, Italy and other European countries were also unable to take off for a few days. I watched on the news as many European tourists in Japan were ordered to delay their departure from Tokyo’s Narita Airport.

Through the following first tanka, the author expresses how people who wait for trains in the rooms on platforms look like slaves. When you replace the phrase, "The rooms on platforms" with, 'earth,' how does it change this poem?

It means that all people in this world look like slaves. We the people of the world regard ourselves as individuals who behave freely, that is with our free will. But we must be seen like slaves interned inside our dark asylum of earth. When faced with such an incident as the eruption of the volcano in Iceland no one could fail to regard himself as a slave.

007) 駅の待合所はどことなく檻
のようだねみんな奴隷のようだ

The rooms on platforms/ resemble cages somewhat
and people who wait/ for trains look like slaves
interned inside their dark asylum.

This poem was selected as one of the best works in a tanka contest for beginners. The author declares that he wrote it in order to express how all human beings look like slaves used by a huge invisible authority, but nevertheless they regard themselves as human and able to behave freely.

When we reflect on the history of the world we recall the fate of dictators who ruled countries. But fundamentally this should not be, as democracy has risen after Imperial rule in most countries. During the Roman period in Europe, the concept of democracy existed, but at the same time there were slaves.

Modern democracy might be said to have begun after the French Revolution. But this concept of democracy seems also to have existed only for white people because people in the USA , which won its independence from Britain, brought in colored people and used them as slaves.

Real democracy can be said to have become established after World War II. Although people have learned not to make slaves of others, we humans ourselves could not survive without being bound by rules which gods or natural powers have created. Nothing, including humans, could live even for a short while without natural rules, under control of God. But can human beings be slaves of God? No! It can't be possible. It is natural rule, or God, that brings up everything including human beings.

A researcher recently found through scientific experiments that human brains are influenced by signals that come from the cosmos. He declares in his book titled "Cosmic Effect on Human Brains – A Micro Cosmos in the Brain" that there have been many reports of the abnormal behavior of "lunatics" and of an increase in crime during the full moon. Werewolves' deviation at the full and new moon is not entirely a work of imagination. Animals have been known to manifest heightened sexuality, aggressiveness, and metabolism at the full and new moons.

If the human brain has an annual ring system under the direct influence of the earth's planetary motion, the assumption of an influence of the moon on brain activity is also plausible.

008) 夜に吹く口笛は魔を呼び込むと母は狂ったように叫んだ
I used to whistle/ merry tunes in my childhood
although my mother/ prohibited this to me
fearing that I'd call demons.

The author composed this tanka to talk about the Japanese proverb, "When one whistles late at night, he calls demons." So, I would like to discuss this proverb in detail. In this case, the existence of demons is invisible to human beings.

There are many instruments, which make sounds besides whistling. Among these, drums and flutes or whistles are used in the ceremony called "Kagura" or 'Shinto dance accompanied by music and performed on a sacred occasion." That is to say, these are made in order to call spirits of the earth or of ancestors. Most people who have watched Noh plays would understand this, I think. During a Noh play, the main actor, called "Shite," dances accompanied by music, which is created by players of drums and flutes or whistles.

Among the ceremonies of initiation of Indian Yoga or Meditation, called Chinkon of Shinotism, there are also whistlings to call spirits or God. These ceremonies are not for calling demons, but proper spirits, or God. Recently I watched a TV program in which the life of a tribe in Africa was introduced. In these people's lives, I focused on a special annual ceremony in which the chief tried to whistle in order to call his god. That is to say, it is evidence that to whistle late at night is not to call demons, but proper spirits or God.

Meditation is a ceremony that an individual tries to do for himself/herself and god to form a harmonious whole. In this ceremony, there is an initiation in which one whistles the sounds "Ohoo...mu" in Yoga, and "Ohooo...." in Chinkon of Shinotism. This initiation is called "Keihitsu" and has been used for a person to call another person in ordinary ceremonies, such as "Hiko" or 'Tanka recitation" in the Annual Poetry Ceremony of New Year's at the Imperial Palace.

I noted that the author of "Cosmic Effect on Human Brains -- A Micro Cosmos in the Brain" found that an individual who is meditating and practicing Yogic breathing can avoid the abnormal effects of cosmic influence. That is to say, whistling late at night is not to call demons, but to call proper sprits, or god, and furthermore is to revive the proper activity of the human brain if we whistle in the right manner.

When I encountered and read this tanka by Yoshihiro Kuromichi, I came to recognize again how significant it is to try to meditate in ordinary life and I thus gave this commentary the title, "How to Escape the Ill-Effects of Reality.”

Tanka Poetry for the world, No. 3

Tanka Poetry by Yoshihiro Kuromichi
Post No. ３
Commentary by Mutsuo Shukuya
In my first two commentaries on the tanka poetry by Yoshihiro Kuromichi I commented on how his poems make you reflect on the images of modern society, which is awash with problems. I also noted that tanka poems by Kuromichi express the feelings he wants to share with the world - feelings that everyone experiences in their youth and often lose as they become adults.

This time I am introducing two of his tanka poems that suggest how most Japanese feel about the future, which nobody can predict. But I believe most people will agree with these sentiments.

(5）
いくつかの夢を叶えていくつかの夢を奪ってゆく流れ星

I tried praying to / shooting stars instead of god
for dreams to come true / as many people have done,
but only theirs would come true.
In this poem Kuromichi explains how shooting stars remind some Japanese of such things as happy experiences or miserable accidents that will happen in their near future, and there is a custom of wishing for dreams to come true to when seeing a shooting star. Even though it vanishes almost as quickly as it appears there are those who believe their wishes will come true. Those who do not to believe in this are more likely to agree with Kuromichi’s poem.

Disbelief in shooting stars granting wishes has long been expressed in proverbs such as, "No one can always tell your fortune." However, since ancient times, people in both the East and the West have dreamed of winning fortunes. The many forms of wishing/gambling, such as cards, horse races, cycle races, lottery tickets and pinball games, at least one of which most Japanese now try, attests to this.

Relating wishes coming true and shooting stars are not the only examples of such customs among many Japanese. There is also the celebration centering on the twin stars, Altair & Vega on 7th July every year. Called Tanabata or 'Star-Festival,' the two stars are said to meet from across the opposite sides of the Milky Way. Throughout Japan people participate in this event to wish for good fortune by writing their dreams on strips of paper and tying them with bamboo leaves.

Another custom in which people in Japan wish for their dreams to come true is called Hatsumode, or “First Visit” of the year to a shrine to pay respects to their ancestors and wish for a happy year for themselves and their families.

At the shrines they draw lots in order to read their fortune. I paid my first visit this year to the nearest shrine from my house with my family and drew a shrine lot in order to read my fortune for this year. The message that my dreams will come true was written on the lot I drew.

(６）
真っ白に一直線にのびてゆく飛行機雲が空を引き裂く
A white contrail, which
extends straight, runs across
the blue sky as if
to break my heart as well as
a girl who threw me over.
This poem by Kuromichi refers to the strange phenomenon that occurs in the sky during the day in contrast to the night-time phenomenon of shooting stars. The author implies that “a white contrail, which extends straight” as something which gives an affirmative image to people. So, he says it breaks his heart when bad things results.

This is the fundamental Japanese way of appreciation classic tanka poetry. Readers who are not aware of this Japanese belief would probably regard this poem as only musings about a white contrail extending across the blue sky.

I composed the following tanka in (1)Tanka in January (2000)[I]Themes for tanka composition(1)(Junior course I) of my lecture, "Classical Tanka Composition in English:" http://homepage3.nifty.com/PLABOT/plimer_course0.html

Today, it grows dark / while I lay in the sunlight
unconsciously, so / I find the moon rising up
in the sky where the haze hangs.
Mutsuo Shukuya
In other words, the interpretation of classical tanka depends upon readers themselves. But the scenes or objects of classical tanka poetry refer to general things that are beautiful, exciting, impressive or significant.

Here is another example of the spiritual nature of tanka, written by the famous poet Kakinomoto Hitomaro.

In and around the hill / covered with plum blossoms
where my cottage stands / lovely singing of warblers
sounds as they tell my fortune.
In this tanka the author says that even though he lives in the countryside without money he doesn’t regard himself as a poor because he can hear warblers singing merry songs.

I have never regarded myself as poor because I have heard warblers on a twig less than 2 meters away, singing merry songs in my garden last spring (in May 2009) for the first time although I didn't have much money after I retired. I was able to understand the feeling, which an author Hitomaro experienced although I had never visited places that were famous for warblers.

Since the mist of the time Japanese have given spiritual feelings priority over money. Even rich Japanese try to live simple and thrifty lives. The mother of the Prime Minister, Yukio Hatoyama lives simply and thriftily even though she has more than 10 billion yen. Prime Minister Hatoyama also lives without servants and cleans up after himself after he finishes his meals so his wife can relax at the table.

While Japanese have respected every existence not only invisible one such as god and ancestors but also visible one such things as both in the space and upon the earth ground, as there is a proverb, "Even a worm will turn."

The lifestyle discussed above seems to help all people in the world adapt themselves to any environment and live contented lives. That is to say, Mr. Kuromichi seems to suggest that we should respect not only invisible things but also tiny visible things such as worms.

Recently my elder brother Tsuneo Shukuya sent me a letter in which he told me he had built a new house although his baby daughter Akiko, born when he was thirty-five years old, had died. Since then he seems to have been praying that his dead daughter is happy in her spiritual world although he had ignored any existence such as god and ancestors before then.

I already believed in and worshipped an invisible god and the spirit of ancestors so I composed the following acrostic tanka poem in order to cheer up my elder brother and his daughter's spirit.

Shi ra yu ri ya
ku ra ki mo ri ni mo
ya he ni ho fu
a ma ki ka wo ri ni
ko to ri na ki ka fu

Elegantly lilies / are in full bloom with sweet scent
and the birds call to / each other in the deep woods,
although it is so dark there.

*1 An essay, “TANKACROSTIC” by James Kirkup (both original & translation into Japanese) used as Foreword of a book,“100 Tanka Poems for 100 People” by Mutsuo Shukuya　published by Phoenix Books/Publishers USA:
http://homepage3.nifty.com/PLABOT/kuromichi_tanka6.html

*2 Book review by Mutsuo Shukuya on “The Japanization of America” by Boye Lafayette De Mente:
http://homepage3.nifty.com/PLABOT/Book%20reviewer1.html

Book review by Mutsuo Shukuya on “Japan’s Secret Weapon: The Kata Factor” by Boye De Mente:
http://homepage3.nifty.com/PLABOT/Book%20reviewer2.html

Tanka Poetry for the world, No. 2

EDITOR'S NOTE:
Since Commentaries on this blog appear in the order in which they were posted, with the latest one first, please read the Introductory Post [Post No. 1] first.

Tanka Poetry by Yoshihiro Kuromichi
Post No. 2

Commentary by Mutsuo Shukuya
In Post No. 1, I noted that I have been writing tanka [tahn-kah] poetry for more than thirty years. However, unlike most of today’s tanka poets I have focused on writing tanka in the traditional style used by poets prior to the later years of the Kamakura Shogunate period [1185-1333], when the traditional style of tanka gave way to haiku/haikai [5-7-5 syllable verse] and renga [rane-gah]—long poetry with 31 to as many as 100 stanzas the norm.

Furthermore, I explained that in my lifetime there have been four major figures who influenced my desire and efforts to master the composition of tanka. One of these individuals was the famous poet Akahiko Shimaki who composed the poem it reminded me of the beautiful village where I spent my childhood. Another of the poets who was philosopher/professor Tsuyoshi Nara, who let me know that anybody could compose tanka as well as famous poets.

The third individual who has been my tanka mentor is Fumiko Reizei, president of Reizei Family group, the 26th descendant of Teika Fujiwara (1162-1241) who mastered the art of composing aesthetic tanka. And the last one is pioneer poet Machi Tawara, who let us know that anybody can compose tanka without an extensive learning period.
This time, I must tell you that two other great authors encouraged me to translate Japanese tanka into English.

One of these individuals was Englishman James Kirkup (1916-2009.5.10) who was one of Europe’s greatest contemporary poets. The second individual who encouraged me to translate tanka poetry into English was the internationally known American author-Japanologist Boyé Lafayette De Mente who has been intimately involved with Japan since the late 1940s. He has published more than fifty books, including more than 30 pioneer books on Japan, including “The Japanization of America” and “KATA - The Key to Understanding & Dealing with the Japanese,” both of which I have reviewed extensively for Japanese publications.

These works by De Mente reveal his meticulous analysis and wide and deep understanding about Japan as a whole and various aspects of Japanese culture. His books, especially “The Japanization of America,” gave me a powerful incentive to translate tanka into English.

In this book De Mente maintains that poetry is one of the ultimate expressions of the emotional, spiritual and intellectual capacity of human beings, and provides a means for judging how the composer has improved himself/herself while at the same time bringing a special joy to those hearing poetry read. He recommended that the widespread Japanese custom of composing and reading poems at various ceremonies should be adopted by all Americans, rather than the very small percentage that now enjoy its amazing benefits.

As soon as I read the above comments I became enthusiastic about introducing Japanese culture, especially tanka poetry, to readers in the world. Since then I have continued to translate Japanese tanka into English, primarily traditional tanka printed in such anthologies as Kokin-shu or Shin-kokin-shu, which were compiled more that 1000 years ago, as well as my own original tanka.

But recently my elder brother Tsuneo Shukuya sent me a tanka by modern poet Utsuho Kubota that especially impressed me. Tsuneo, who had earlier suffered a painful bout with cancer, included a letter with the poem saying that reciting the poem repeatedly had helped ease the pain. Now, ten years later, he has recovered and is again enjoying life. Here is the poem he sent me:

Feeling so lonely
I wander along a road
through the meadows,
finding only pieces
of tiny flowers.
—Utsuho Kubota—

In my first Post I introduced Yoshihiro Kuromichi as the fifth person who has influenced me so much in my efforts to compose tanka and then to master it, since he prompted me to release all of my lectures about tanka composition under the traditional theory on my website for anyone who wants to learn how to compose tanka.

Here are two more tanka poems by Kuromichi that I believe express the feelings he wants to share with the world through his tanka—feelings that everyone experiences in their youth and often lose as they become adults.

In his poetry he attempts to retain the innocence and goodwill of youth, and help adults regain this feeling in their view and relations with the adult world—a concept that is apparent in his use of the phrase “a few secrets.”

On a very practical level it is obvious that adults can learn from young people, with computers and other high-tech devices being one example, just as in my own case I have learned from my daughters how to use computers, play electronic games, and so on. Mothers take care of their babies but their babies provide them with immeasurable joy.

On the broadest level, as Kuromichi expresses in his poetry, human beings are dependent upon each other and should not be obsessed with selfish feelings that prevent true understanding and cooperation.

Tanka 003

(秘め事の一つや二つあるんだよ優等生のあの娘にだって)

I would like to declare
to everyone in the world
a few secrets which
I keep in my own heart
as diligent girls do.

The next tanka appears to have been composed on the theme of lying—based on the fact that when young people meet members of the opposite sex they often attempt to appear to be better than what they really are—that is to say they often tells lies about themselves.

The use of the sentence “I used to dream of/ future happiness with you” in this poem seems to express his desire to gently reveal this “secret” to the reader.

004
(君のつく嘘のすべてが輝いて僕の未来を照らしてたんだ)

Hearing your stories,
I used to dream of
future happiness with you,
but all of them were lies you told
long ago in our childhood.

I hope these two poems by Yoshihiro Kuromichi will contribute to his dream of everybody in the world learning to communicate with each other sincerely and deeply.

###

Introducing Tanka Poetry to the World!

EDITOR'S NOTE: This is the Introductory Post to Introducing Tanka Poetry to the World. Please read it first!

POST NO.1
Commentary by Mutsuo Shukuya
I have been writing tanka [tahn-kah] poetry for more than thirty years. However, unlike most of today’s tanka poets I have focused on writing tanka in the traditional style used by poets prior to the later years of the Kamakura Shogunate period [1185-1333], when the traditional style of tanka gave way to haiku/haikai [5-7-5 syllable verse] and renga [rane-gah]—long poetry with 31 to as many as 100 stanzas the norm.

The end of the Meiji period in 1912 saw the emergence of so-called modern tanka, but I have continued to compose Kamakura era tanka and have published two anthologies—one in Japan and one in the United States. I have also contributed essays and tanka poetry in English and Japanese to weekly newspapers and monthly magazines for the past ten years, and both taught and mentored the composition of tanka poetry at a private school sponsored by a monthly poetry magazine.

Early this year (2010) I composed a flowing tanka in the traditional style on the theme Hikari [He-kah-ree] or “Light” on the occasion of this year’s annual Poetry Party at the Imperial Palace sponsored by Emperor Akihito.

On the morning of the first day of this New Year
I myself also watch the sun rising calmly
above in the eastern sky.

I recently came across the website of noted contemporary tanka poet Yoshihiro Kuromichi entitled “Tanka Lesson Room for Beginners by a Modern Poet.” I was delighted to discover that anyone could access the site and begin leaning how to compose tanka poetry without having to buy books, attend classes, or engage a mentor.

Up to this time it has been taken for granted that those wanting to learn how to write essays, poetry and other literary skills would pay for copyrighted books and teacher fees, but that is now changing. Until recently where were three large bookstores in the commuter train station near my home, now there is only one; a powerful testimony to the presence and power of the Internet. This transition to free access to books of all kinds is now being boosted to Google.Com, which offers the content of millions of books free of charge.

I believe this extraordinary transition to free information on the Internet, despite its early problems, will greatly benefit mankind, helping to bring all humanity in the world together as a family, making it possible for us to communicate directly with each other through poetry and other means.

I was so delighted when I discovered Kuromichi’s website that I composed an acrostic poem and sent it to him in a letter.

In my lifetime there have been four major figures who influenced my desire and efforts to master the composition of tanka. One of these individuals was the famous poet Akahiko Shimaki who composed the following tanka that was printed on one of the textbooks I bought when I was a junior high school student. Every time I read the poem it reminded me of the beautiful village where I spent my childhood.

Spring has already come
a bunting is singing a song merrily
upon a twig of a tall zelkova tree on a hill.

Another of the poets who inspired me was philosopher/professor Tsuyoshi Nara, who let me know that anybody could compose tanka as well as famous poets. I received a New Year’s card from him with the following tanka printed on it.

Although it is sure that I myself am brought up
by heaven and earth, at the same time I myself
encourage them without fail.

The third individual who has been my tanka mentor is Fumiko Reizei, president of Reizei Family group, the 26th descendant of Teika Fujiwara (1162-1241) who mastered the art of composing aesthetic tanka.

And the last one is pioneer poet Machi Tawara, who let us know that anybody
can compose tanka without an extensive learning period. After she published her tanka collection, which sold more than million copies, teachers began to allow students to compose tanka in school, even though it had not been permitted since World War II.

Despite the great contributions these four individuals had made to my life there remained a kind of mist or block that prevented me from being content with my efforts to inspire and teach people to write poetry. But as soon as I opened and read Kuromichi’s “Tanka Lesson Room for Beginners” website, this feeling vanished. I was reminded of the proverb, “The scales fall from one’s eyes.”

I was instantly struck with the thought that I had to release all of my lectures about composing traditional tanka on the Internet, just as Kuromichi was doing, and immediately wrote a letter to him suggesting that I translate his tanka into English so that millions of people all over the world could share his dream of uniting people through poetry.

Although my primary interest was and remains the traditional form of tanka I believe it behooves all poets to be open to other forms of poetry. I believe it is fundamental that poets should practice both tanka and renga forms of poetry in order to become a master poet.

A famous Meiji period poet, Ichiyo Higuchi, had composed many tanka poems before she published such famous works such as “Takekurabe.” And another author and dramatist of the Edo era [Tokugawa Shogunate period], Saikaku Ihara had also composed a lot of renga poetry at the Sumiyoshi shrine in Osaka prefecture before he published such famous works as “Koshoku-Ichidai-Otoko.”

As soon as I read some works of Yoshihiro Kuromichi, these two authors came up in my mind. Some of his linked tanka are works that describe interesting or exciting stories. At this time I am able to introduce only two tanka from the examples of ten of his poems that he sent me, along with their explanations.

But I think that the combination of these works symbolizes modern society in this world with many traditional techniques for tanka composition when I regard them as one work called “twin tanka.”

1) Does the kite I flew when I was seven years old
float up in the sky over the Gobi desert
which I now see in my dream?

2) What will I realize in my future, I wonder?
There must be pathways that I have built up on shore
but they have been washed away!

The supervisor of this project, author and Japanologist Boye Lafayette De Mente, commented that he understand this imagery clearly...and that it has deep meaning.

When most traditional tanka poets in Japan composed tanka in order to instill their own “spiritual aftertaste” of the world in their tanka, they used such techniques for tanka composition as Engo” or ‘a related word’ and “Tsuiku” or ‘antithesis.’ That is to say, each of them has a related word: Gobi desert and shore.

It has been said that as many as ten thousand years ago there was a great and prosperous city in Gobi desert. Part 2 of Kuromchi’s poem says that he has built pathways on the shore but they have been washed away. What does the word “pathways” symbolize, I wonder? Can you relate the image to modern society in this world, which is awash with many problems?

From now on I’m going to introduce Yoshihiro Kuromichi to English readers as the fifth person who has influenced me so much in my efforts to compose tanka and then to master it, since he prompted me to release all of my lectures about tanka composition under the traditional theory on my website for anyone who wants to learn how to compose tanka.

I hope my small effort to make his dream come true by introducing two of his tanka will be the first step in helping to create peace and goodwill among all of the people of the Earth, regardless of their race, religion, tribe, nationality or history.
_______________________________

As for the persona of poet Yoshihiro Kuromichi, he has chosen to remain something of a mystery. Born in 1974 in Nara Prefecture [the site of Japan’s capital from 710 to 784], Kuromich styles himself as a “playbot heretic,” lists his occupation as “word thief,” and his hobby as composing tanka.
He adds that he sometimes contributes tanka under the name of “Boss” to a radio program, is an avid coffee-drinker and reader of manga magazines, especially Hunter x Hunter by Yoshihiro Togashi, likes to be alone but is constantly with friends, and reflects deeply over what he does. His Japanese language websites are:


プラボットの異端児（短歌入門部屋）
黒路よしひろ
http://homepage3.nifty.com/PLABOT

黒路よしひろの現代短歌入門（英訳付）」
http://homepage3.nifty.com/PLABOT/kuromichi_tanka.html

万葉集入門
http://manyou.plabot.michikusa.jp/