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/