Commentary by Mutsuo Shukuya
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).
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:
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).
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).
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).
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.
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.
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
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