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