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).
Mitsune Oshikochi
(859?-925?)
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.
(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.
(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.
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.
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.
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.
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.
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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