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.
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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.