J130 Fall 2013 — Course guide
Sessions 01-03
Orientation & introductory lectures
Session 01
Th, 29 Aug 2013
Orientation
This is a typical first-session class where I describe course content, process, and where we get to know each other some.
Session 02
Tu, 3 Sep 2013
Intro lecture
Last year, I gave three introductory lectures over three 50-minute sessions (150 minutes). This year scheduling gives me 2 80-minute lectures (160 minutes). I haven't decided yet how to distribute the work. Check back for assignments.
Session 03
Th, 5 Sep 2013
Intro lecture
Discussed rhythm: 五七調（ごしちちょう） and 七五調（しちごちょう）.
五七調 is associated with the 万葉集（まんようしゅう） and is therefore the "older" feeling structure and occus when a 短歌 breaks after the 2nd or 4th line or both. It gives a blocky-er, stronger sense to a poem, sometimes.
七五調 is associated with the 古今集 (こきんしゅう) and later collections and occurs when a 短歌 (たんか) breaks after the 1st or 3rd line or both. It has a smoother, more polished, more elegant feel to it.
Discussed qualities that can relate a poem to the one that comes before of after it, and that this way of thinking can be more or less applied to components within poems, particularly the top (上の句) and the bottom （下の句）. The vocabulary for the below list was drawn from Ueda's article in Principles of Classical Japanese Literature titled "The Taxonomy of Sequence". The definitions themselves are from 日本語大辞典, as accessed via JapanKnowledge.
- 匂 (にほい、fragrance)：
- 和歌・俳諧で、余韻、余情。特に、蕉風俳諧で、前句にただよっている余情と、それを感じとって付けた付け句の間にかもし出される情趣。→匂付け。
- 響 (ひびき、reverberation)：
- 俳諧の連句で、前の句に付ける時の技巧の一つ。前の句の感情の動きを受けて、そのまま次の句に表わし出すこと。「匂（におい）」「移り」とともに、特に芭蕉連句において、基本的な付け合いの手法とされた。
- 移 (うつり、reflection)：
- 言葉、音調、リズムなどが、変化しながら続いていく時の、続き具合。特に、蕉風俳諧で、連句の付け方の一つ。前句の情趣が後句へひきつがれていったり、また、対照呼応したりすること。
- 面影・俤 (おもかげ、semblance) 面影付：
- 歌などで、余情として浮かんでくる姿、情景。
Sessions 04-06 / Poems 01-09
和歌：春
Session 04 / Poems 01-03
Tu, 10 Sep 2013
Poems: Very early spring waka
from KKS and SKKS
People: Go-Toba and Shikishi
Grammar: Suffix to adjective stems −み
from KKS and SKKS
People: Go-Toba and Shikishi
Grammar: Suffix to adjective stems −み
Poems for this session
- 01 ほのぼのと春こそ空に来にけらし。天の香具山霞たなびく。
- 02 山深み春とも知らぬ松の戸にたえだえかかる雪の玉水。◀
- 03 雪のうちに春は来にけり。うぐひすのこほれる涙いまやとくらむ。◀
01 ほのぼのと春こそ空に来にけらし。天の香具山霞たなびく。
ほのぼのと | はる | こそ | そら | に | き | に | け | らし | あまのかぐやま | かすみ | たなびく
Collection: SKKS 0002 • 春歌上 (second poem, so near the border between winter and spring; the 上（じょう） means "first book" and is used in these series: 上下 or 上中下, in this case the first of two which is the typical number of spring books in these imperial collections)
Author: 後鳥羽上皇 (ごとばじょうこう) Emperor / Retired emperor Go-Toba: Read Wiki Emperor Go-Toba, "Non-political activities". Also, 太上天皇（だいじょうてんのう）. Highly esteemed poet of his day. Commanded the creation of the SKKS. Early Kamakura period, in the midst of the poetic activity surrounding the creation of the SKKS. You can read a review of Robert Huey's The Making of the Shin-Kokinshu here: H. Mack Horton, "Review of The Making of the Shin-kokinshu" Harvard Journal of Asiatic Studies 63:2 (2003), stable JSTOR URL: http://www.jstor.org/stable/25066712
Poems by Go-Toba on these J130 session pages: 01.
Notes
This is based on a Manyōshū poem: 久方の天の香具山この夕霞たなびく春立つらしも (Edwin Cranston, trans. A Waka Anthology Vol. 1, Poem #397 (by Hitomaro): "On sun-radiant / Heavenly Mount Kagu's slopes / In the evening light / Bands of haze are drifting— / Spring must be here at last!". So, compare:
ほのぼのと春こそ空に来にけらし天の香具山霞たなびく
久方の天の香具山この夕霞たなびく春立つらしも
Special requests for preparing this poem
- View these two pages for ほのぼのと: Page 01, Page 02
- Web search (images): たなびく
- Web search (images): 春の霞 ("Kasumi" is a personal name so it isn't very useful as a single keyword)
やま | ふかみ | はる | と | も | しら | ぬ | まつ | の | と | に | たえだえ | かかる | ゆき | の | たまみづ
Collection: SKKS 0003 • 春歌上 (continues directly after above poem)
Author: 式子内親王 (Shikishi/Shokushi Naishinnō) Princess Shikishi: Read Page 1 & 2 of String of Beads: Complete Poems of Princess Shikishi as GoogleBook Preview or otherwise. Shikishi was the Kamo Princess from 1159–69 and studied poetry under the great classicist of his time, Fujiwara Shunzei, and his brilliant son Fujiwara Teika (interpretive description is by me, basic details are from Peter McMillan, One Hundred Poets, One Poem Each : A Translation of the Ogura Hyakunin Isshu, p148 n89). The third eldest imperial daughter of the powerful Emperor Go-Shirakawa and Kamo Princess, an elite position at the great Kamo Shrine, we should think of her as of exceptional imperial rank. She retired from the Shrine because of illness, became a nun, and never married (文法解説：古今・新古今 p82). We do not know her age but she died in 1201 during the time of the compilation of the SKKS but before it was complete.
Poems by Shikishi on these J130 session pages: 02, 09, 15, 18, 21.
03 雪のうちに春は来にけり。うぐひすのこほれる涙いまやとくらむ。
ゆき | の | うち | に | はる | は | き | に | けり | うぐひす | の | こほれ | る | なみだ | いま | や | とく | らむ
Collection: KKS 0004 • 春歌上 (fourth poem in KKS, so, as above, very early in spring)
Author: 二条の后 (にじょうのきさき) Empress Nijō. Her given name is 藤原高子（ふじわらのたかいこ）. This is NOT "Lady Nijō" of The Confessions of Lady Nijō. This is a very high-ranking empress, deeply involved in the marriage politics of the mid-Heian period, alive and active in the years just prior to the compilation of the KKS and dying shortly afterwards. She is known best as the lover of Ariwara no Narihira (of Ise monogatari, etc.). His powerful romantic attraction to her (he spirited her away only to lose her back to the imperial powers) is the background of many Ise episodes. This is her only KKS poem. Online searches of "Nijo" are useless. Try "Takaiko" or work from the Japanese. If interested, you can read a little bit about her in a Harvard Journal of Asiatic Studies article: "The Ise monogatari: A Short Cultural History" (Bowring 1992, esp p478).
Special requests for preparing this poem
Session 05 / Poems 04-06
Th, 12 Sep 2013
Poems: Mid-spring waka from KKS and SKKS
Poeple: Fujiwara no Teika and Ki no Tsurayuki
Poeple: Fujiwara no Teika and Ki no Tsurayuki
Poems for this session
- 04 大空は梅のにほひに霞みつつ、くもりもはてぬ春の夜の月。
- 05 ひさかたの光のどけき春の日に、しづ心なく花の散るらむ。
- 06 さくら花散りぬる風のなごりには水なき空に波ぞ立ちける。
04 大空は梅のにほひに霞みつつ、くもりもはてぬ春の夜の月。
おほぞら | は | うめ | の | にほひ | に | かすみ | つつ | くもり | も | はて | ぬ | はる | の | よ | の | つき
Collection: SKKS 0040 • 春歌上 (well into spring in a sense because the first book has 98 spring poems total; however, plum blossoms are associated with late snows so that should be kept in mind; plums bloom before cherries)
Author: 藤原定家 (ふじわらのていか・さだいえ) Fujiwara no Teika/Sadaie or just Teika for two reasons: first, there are so many Fujiwara that if the last name is not mentioned it is safe to assume that it is a Fujiwara; second, Teika is so famous that his first name has become more or less the designated common name for him. Many of the poets we read are among the most famous. Teika is perhaps the greatest of them all so please get to know a bit about his life. He is son of the great classicist Fujiwara Shunzei, was deeply involved in all things poetic during the creation of the SKKS, and left a permanent mark on the course of waka history. Required reading: Wiki Fujiwara no Teika, Overview (the first two paragraphs) and "Poetic Achievements" (detailed but spend some time with this).
Poems by Teika on these J130 session pages: 04, 27.
Special requests for preparing this poem
- Skim this for the comment on smelling plums: ... seeking serenity: The Smell of Plum Trees
- Read this with some care (testable): UMEMI (梅見)
- This is just for fun—a list of perfumes you can buy with a plum component: Plum Crazy: A Plum Fragrance Guide
- View this image of ume because it is fairly close to the classic Kokin image of ume + uguisu although this one is a Japanese white-eye (scroll down to 梅とメジロ！！): Page01
- Web search (images): 梅
- Web search (images): 春の霞 ("Kasumi" is a personal name so it isn't very useful as a single keyword) — but remember that we are dealing with the verb kasumu in this poem
05 ひさかたの光のどけき春の日に、しづ心なく花の散るらむ。
ひさかたの | ひかり | のどけき | はる | の | ひ | に | しづこころ | なく | はな | の | ちる | らむ
Collection: KKS 0084 • 春歌下 (part of the many poems devoted to cherry blossoms in this collection, these are all about 1/3 of the way into the second book of spring so we should think of sakura poems as deep into spring, not the arrival of spring)
Author: 紀友則 (きのとものり). Ki no Tomonori. A Heian poet who died before the completion of the KKS although he was one of its compliers. Cousin to the preeminent poet of the time, Ki no Tsurayuki. This is his most famous poem and is part of the famous Ogura Hyakunin Isshu.
06 さくら花散りぬる風のなごりには水なき空に波ぞ立ちける。
さくらばな | ちり | ぬる | かぜ | の | なごり | に | は | みづ | なき | そら | に | なみ | ぞ | たち | ける
Collection: KKS 0089 • 春歌下 (part of the many poems devoted to cherry blossoms in this collection, these are all about 1/3 of the way into the second book of spring so we should think of sakura poems as deep into spring, not the arrival of spring)
Author: 紀貫之 (きのつらゆき). Ki no Tsurayuki. He is the dominant poet of the Heian period, the leader in the compilation of the KKS which was the gold standard for waka composition for centuries after its completion. He is about as famous a poet as we will read, together with Teika and Bashō. Note these details: "Ki no Tsurayuki (868-945). He was the chief compiler of the KKS and wrote its famous Japanese preface. He led the battle to have Japanese poetry seen as the equal of Chinese verse. He has 202 poems in the KKS (comprising nearly 10 percent). [The correct number is 102.] In 930 he was appointed governor of Tosa in Shikoku.. In the persona of a woman, he wrote a famous diary, the Tosa Nikki, about his journey from Tosa back to Kyoto. He was considered the greatest poet of his time. He had 452 works in imperial anthologies, 102 of them in the KKS. ... He is listed as one of Kintō's Thirty-Six Poetic Geniuses." (from One Hundred Poets, One Poem Each : A Translation of the Ogura Hyakunin Isshu, p139 n35) And read pages 59-60 from Japanese Culture by Paul Varley.
Session 06 / Poems 07-09
Tu, 17 Sep 2013
Poems: Sakura poems of the SKKS
Poeple: Fujiwara no Shunzei
Aesthetic terms: yūgen
Poeple: Fujiwara no Shunzei
Aesthetic terms: yūgen
Poems for this session
- 07 風かよふ寝覚の袖の花の香にかをる枕の春の夜の夢。
- 08 またや見む。交野のみ野の桜狩り、花の雪散る春のあけぼの。
- 09 花は散りその色となくながむれば、むなしき空に春雨ぞ降る。
07 風かよふ寝覚の袖の花の香にかをる枕の春の夜の夢。
かぜ | かよふ | ねざめ | の | そで | の | はな | の | か | に | かをる | まくら | の | はる | の | よ | の | ゆめ
Collection: SKKS 0112 • 春下 (early in the second book, part of the sakura poem series)
Author: 俊成娘・女 (ふじわらのしゅんぜいのむすめ) Or Toshinari no musume. In this case "musume" means "the adopted daughter of ..." The famous Shunzei is her grandfather. Born ca. 1171, married, then was divorced, became a nun in 1213, died in 1254, was considered one of the best women poets of her day.
08 またや見む。交野のみ野の桜狩り、花の雪散る春のあけぼの。
また | や | み | む | かたの | の | みの | の | さくらがり | はな | の | ゆき | ちる | はる | の | あけぼの
Collection: SKKS 0114 • 春下 (early in the second book, part of the sakura poem series, just one poem after the above)
Author: 藤原俊成 (Fujiwara Shunzei) Required reading: Wiki Fujiwara no Shunzei (all)
An optional aside: The Japanese for the poem in the Wiki is: 夕されば野辺の秋風身にしみて鶉鳴くなり深草の里（千載集）. This is presented as an example of 幽玄（ゆうげん）. Can you say why? (If interested, from a discussion of this poem at 千載集秀歌選: 単なる秋の夕暮の野の叙景歌ではない。「野とならば鶉となりて鳴きをらん仮にだにやは君は来ざらむ」（伊勢物語）を踏まえ、鶉には「憂」をかけると共に、男を待ち続けて化身してしまった哀れな女の物語が暗示されている。秋風の吹く野という広がりのある空間に、物語と抒情が盛り込まれ、三十一文字という和歌の「詞」の限界を、「心」によって押し拡げているのである。) Additional note on this poem: cry of 鶉（ウズラ）
Special requests for preparing this poem
- Memorize the first three lines
09 花は散りその色となくながむれば、むなしき空に春雨ぞ降る。
はな | は | ちり | そ | の | いろ | と | なく | ながむれ | ば | むなしき | そら | に | はるさめ | ぞ | ふる
Collection: SKKS 0149 • 春下 (past the mid-point of the second book, part of the sakura poem series)
Author: 式子内親王 (Shikishi/Shokushi Naishinnō) Princess Shikishi. Her information is at Poem 02.
Poems by Shikishi on these J130 session pages: 02, 09, 15, 18, 21.
Sessions 07-09 / Poems 10-18
和歌：秋
Session 07 / Poems 10-12
Th, 19 Sep 2013
Poems: First autumn and some
mid-autumn poems from the KKS
Poeple: Ono no Komachi
mid-autumn poems from the KKS
Poeple: Ono no Komachi
Poems for this session
- 10 秋来ぬと目にはさやかに見えねども、風の音にぞ驚かれぬる。
- 11 木の間よりもり来る月のかげ見れば、心づくしの秋は来にけり。
- 12 白雲に羽うちかはし飛ぶ雁の数さへ見ゆる秋の夜の月。
10 秋来ぬと目にはさやかに見えねども、風の音にぞ驚かれぬる。
あき | き | ぬ | と | め | に | は | さやかに | みえ | ね | ども | かぜ | の | おと | に | ぞ | おどろか | れ | ぬる
Collection: KKS 0169 • 秋上 (this is the first poem of the first book of autumn)
Author: 藤原敏行 (ふじわらのとしゆき) Died around 907, so about the time the 『古今集』 was completed. Also known for his calligraphy.
11 木の間よりもり来る月のかげ見れば、心づくしの秋は来にけり。
こ | の | ま | より | もりくる | つき | の | かげ | みれ | ば | こころづくし | の | あき | は | き | に | けり
Collection: KKS 0184 • 秋上 (about in the middle of the first book of autumn)
Author: 小野小町 (おののこまち) This poem is officially listed as 詠み人知らず but it is traditionally attributed to Komachi. She is a mid-ninth century poet (which makes her about half a century earlier than when the 『古今集』 was complied, thus her style is called "old" by Ki no Tsurayuki in the preface to that collection), sometimes paired with Ariwara Narihira as the female counterpart to his male irogonomi ways. And she's important so let's introduce her. Read Wiki Introductory passage, Life and Legends: Ono no Komachi. Learn this thumbnail sketch (from 2001 Waka at the link noted below):
Komachi is, perhaps, the earliest and best example of a passionate woman poet in the Japanese canon, outshining her contemporary Ise, and starting a tradition continued by Izumi Shikibu in a later age and Yosano Akiko in the modern one. She is also, perhaps, the most skilled user of kakekotoba of her time, and the writer of some of the most intense and accessible poetry in the canon.
If interested, the Japanese wiki has a list of her poems under 作品: 小野小町. See also 2001 Waka.
For translations of her poems see Ink Dark Moon and Komachi: Poems, Stories, No Plays.
Here's how Ki no Tsurayuki describes her poems in his famous preface to the 『古今集』：
をののこまちはいにしへのそとほりひめの流なり あはれなるやうにてつよからす いははよきをうなのなやめる所あるににたり つよからぬはをうなのうたなれはなるへし
（小野小町は、古の衣通姫の流なり。哀れなるようにて、強からず。言わば、良き女の悩める所あるに似たり。強からぬは、女の歌なればなるべし。）Ono no Komachi belongs to the same line as Sotoorihime of old. Her poetry is moving and lacking in strength. It reminds us of a beautiful woman suffering from illness. Its weakness is probably due to her sex. (trans. by Helen C. McCullough)
12 白雲に羽うちかはし飛ぶ雁の数さへ見ゆる秋の夜の月。
しらくも | に | はね | うちかはし | とぶ | かり | の | かず | さへ | みゆる | あき | の | よ | の | つき
Collection: KKS 0191 • 秋上 (about in the middle of the first book of autumn)
Author: よみ人しらず
Special requests for preparing this poem
- Web search (images): 雁 ... you don't even need to open any of these images, you should immediately get the visual idea from just the results page
Session 08 / Poems 13-15
Tu, 24 Sep 2013
Poems: Mid-autumn poems from
the SKKS
Grammar & vocabulary:
荻、おぎ and 衣打つ、ころもうつ／砧を打つ、きぬたをうつ
Supplying words to poems
体言止め for emphasis & 余情
the SKKS
Grammar & vocabulary:
荻、おぎ and 衣打つ、ころもうつ／砧を打つ、きぬたをうつ
Supplying words to poems
体言止め for emphasis & 余情
Poems for this session
- 13 ふるさとのもとあらの小荻咲きしより、夜な夜な庭の月ぞうつろふ。
- 14 み吉野の山の秋風さ夜更けて、ふるさと寒く衣打つなり。
- 15 更けにけり。山の端近く月冴えて十市の里に衣打つ声。
13 ふるさとのもとあらの小荻咲きしより、夜な夜な庭の月ぞうつろふ。
ふるさと | の | もとあら | の | こおぎ | さき | し | より | よなよな | には | の | つき | ぞ | うつろふ
Collection: SKKS 0393 • 秋上
Author: 藤原良経 (ふじわらのよしつね) I am not asking that you know the details of this poet but here is my thumbnail sketch, followed with more details from various sources if you are interested:
A high-ranking official, known for his excellence in poetry (and calligraphy), who was supported by Go-Toba, wrote the preface to the SKKS, has many poems in that collection, and died about the time the SKKS was completed.
From Encyclopedia of Japan (Kodansha): "1169－1206. Also known as Go-Kyōgoku Yoshitsune, Kujō Yoshitsune, and Lord Nakanomikado. Classical (waka) poet, courtier, and literary patron. He studied poetry under Fujiwara no Toshinari (Shunzei), whose style of verse he supported at court. When the retired emperor Go-Toba established his Bureau of Poetry (Wakadokoro) in 1201, Yoshitsune was appointed head fellow. He wrote the Japanese preface for the eighth imperial anthology, the Shin kokinshū (completed 1205), in which 79 of his poems are included. Skilled in the descriptive mode, Yoshitsune wrote poems that are both elegant and evocative, conveying the tone of melancholy (sabi) esteemed by the age, while also displaying a 《manly vigor》 (masuraoburi) uniquely his own. His personal collection of Japanese poems, known as Akishino gessei shū (ca 1204, Collection of Autumnal Bamboo Grass and Moonlit Radiance), contains more than 1,600 poems, and more than 300 are included in imperial anthologies from the Senzai wakashū on."
And from 日本大百科全書(ニッポニカ) we can also read that he is the third most frequently anthologized poet in the SKKS: 良経は歌人として盛名あり、後鳥羽院（ごとばいん）に認められて和歌所寄人（よりゅうど）にあげられ、『新古今和歌集』の序もその筆になる。その入選歌数は西行（さいぎょう）、慈円に次いで第3位。
Notes
- The preface to this poem indicates that the poet is looking at the grasses and flowers that are before him, in the moonlight.
- This poem has some similarities to a poem using 小荻 in 『源氏物語』 where the Kiritsubo Emperor, after the death of Kiritsubo, is longing for the young Genji who is still in the village where his mother Kiritsubo died.
Special requests for preparing this poem
- Compare to its older version：「ふるさとのもとあらの小荻枯れしより鹿だに鳴かぬ庭の月影」and its 本歌：「宮城野のもとあらの小萩露を重み風を待つごと君をこそ待て」（恋四、古今集）
- Consider how this poem relates to さび
- Consider what love might have to do with this poem, given the note below.
- Web search (images): 荻 (not 小荻) and note this definition— 荻 is associated with autumn and is usually a metaphor for hidden love (忍ぶ恋) or wavering in the wind or both and sometimes its sound (a dry rustling sound) is used to signal a message from or visit from one's lover.
14 み吉野の山の秋風さ夜更けて、ふるさと寒く衣打つなり。
みよしの | の | やま | の | あきかぜ | さ | よ | ふけ | て | ふるさと | さむく | ころも | うつ | なり
Collection: SKKS 0483 • 秋下 (not quite mid-way into the book)
Author: 藤原雅経 (ふじわらのまさつね)
Special requests for preparing this poem
- Web search (images): 吉野 (but remember that this is autumn, so un-bloom all those cherry trees)
- The preface of this poem indicates that it is about "beating silk" (擣衣／砧を打つ、きぬたをうつ). Silk was pounded to bring out its luster and soften it. That pounding is a very specific, and rather sharp sound. It has been used in literature as a sound of loneliness and a sound of desire, or both. Here's a image of what the stand that might be used looks like, more or less: Jpeg01. Here are a couple of early paintings depicting this action: Blog01, Blog02. And, although it is after our poem, Noh plays that used this pounding to express frustrated feminine desire were picked up, I think, by Edo period woodblock artists with erotic themes such as this one, which is pretty typical: Jpeg02. If you want to explore, 砧打つ is a good search string.
ふけ | に | けり | やま | の | は | ちかく | つき | さえ | て | とおち | の | さと | に | ころも | うつ | こゑ
Collection: SKKS 0485 • 秋下 (not quite mid-way into the book, on the same topic as the above)
Author: 式子内親王 (しきしないしいんのう) (Shikishi/Shokushi Naishinnō) Princess Shikishi. Her information is at Poem 02.
Poems by Shikishi on these J130 session pages: 02, 09, 15, 18, 21.
Session 09 / Poems 16-18
Th, 26 Sep 2013
Poems: Momiji poems from the
KKS and SKKS
Grammar & vocabulary: 忍ぶ草
suffix to adjective stems: −み,
supplying words
KKS and SKKS
Grammar & vocabulary: 忍ぶ草
suffix to adjective stems: −み,
supplying words
Poems for this session
- 16 風吹けば落つるもみぢ葉水清み、散らぬかげさへ底に見えつつ。
- 17 ふるさとは散るもみぢ葉にうづもれて、軒のしのぶに秋風ぞ吹く。
- 18 桐の葉も踏み分けがたくなりにけり。必ず人を待つとなけれど、
16 風吹けば落つるもみぢ葉水清み、散らぬかげさへ底に見えつつ。
かぜ | ふけ | ば | おつる | もみぢ | は | みづ | きよみ | ちら | ぬ | かげ | さへ | そこ | に | みえ | つつ
Collection: KKS 0304 • 秋下
Author: 凡河内躬恒 (おおしこうちのみつね) flourished ca 900 and is probably the most famous poet of Ki no Tsurayuki's time, next to Tsurayuki himself. Helped compile the KKS. If interested, here's his English Wiki: Ōshikōchi no Mitsune.
Notes
- The preface of this poem says: 池のほとりにてもみぢの散るをよめる
17 ふるさとは散るもみぢ葉にうづもれて、軒のしのぶに秋風ぞ吹く。
ふるさと | は | ちる | もみぢ | は | に | うづもれ | て | のき | の | しのぶ | に | あきかぜ | ぞ | ふく
Collection: SKKS 0533 • 秋下
Author: 源俊頼 (みなもとのとしより) Toshiyori died in 1129 and is part of the generation of poets just ahead of our Shunzei, and, reportedly, Shunzei was strongly influenced by him. If interested, his English wiki is here: Minamoto no Shunrai
Notes
- The preface to this poem says: 障子の絵に、荒れたる宿に紅葉散りたるところをよめる. This helps a lot in making sense of the poem.
- Teika would later comment on this poem, writing: 幽玄（ゆうげん）に、面影（おもかげ）かすかに、寂しき様なり
- 面影：歌などで、余情として浮かんでくる姿、情景。
- かすか（微か）に：形容動詞「かすかなり」 meaning, in this case: 人けがなく物さびしいさま。また、ひっそりとしていて人目につかないさま
Special requests for preparing this poem
- One of my annotated books describes his poetry as 清新 and 詩情豊かだ. Can you relate either of these to the poem? And/or, can you relate this poem to anything in Teika's critical analysis, noted above?
18 桐の葉も踏み分けがたくなりにけり。必ず人を待つとなけれど、
きり | の | は | も | ふみわけ | がたく | なり | に | けり | かならず | ひと | を | まつ | と | なけれ | ど
Collection: SKKS 0544 • 秋下
Author: 式子内親王 (しきしないしんのう) (Shikishi/Shokushi Naishinnō) Princess Shikishi. Her information is at Poem 02.
Poems by Shikishi on these J130 session pages: 02, 09, 15, 18, 21.
Notes
- The poem is based on these two poems,
- the first in the 和漢朗詠集（わかんろうえいしゅう） which is a collection of Japanese and Chinese poems:
あきのにはははらはずとうぢやうをたづさへて、
しづかにごとうのくわうえふをふみてゆく、
秋（あき）の庭（には）は掃（はら）はず藤杖（とうぢやう walking stick）を携（たづさ to lean on）へて、
閑（しづ）かに梧桐（ごとう, same tree）の黄葉（くわうえふ）を踏（ふ）みて行（ゆ）く、
秋庭不掃携藤杖。閑踏梧桐黄葉行。
晩秋閑居 白居易 - the second is KKS 770 (Love, Book V)
わが宿は道もなきまで荒れにけりつれなき人を待つとせましに
My dwelling has become / Grown over with grass / To the point where / There is no longer a path-- / All the while I waited for / My faithless lover. (Translation details: Janet Walker "Conventions of Love Poetry in Japan and the West" The Journal of the Association of Teachers of Japanese 14:1 [1979])
- the first in the 和漢朗詠集（わかんろうえいしゅう） which is a collection of Japanese and Chinese poems:
Special requests for preparing this poem
- Web search (images): 桐の葉 This is really helpful, I think. Remember to give them autumn colors :-)
Sessions 10-12 / Poems 19-27
和歌：恋（１）
Session 10 / Poems 19-21
Tu, 1 Oct 2013
Poems: Book I love poems from the KKS and SKKS
Concept: five books of love of the KKS
Concept: five books of love of the KKS
Assigned readings for this session
Read with care the PDF on bSpace titled Kokinshu select love poems ENG with notes
Poems for this session
- 19 春日野の雪間を分けて生ひ出でくる草の、はつかに見えし君はも。
- 20 夕暮れは雲のはたてにものぞ思ふ。天つ空なる人を恋ふとて、
- 21 玉の緒よ。絶えなば絶えね。ながらへば、忍ぶることの弱りもぞする。
19 春日野の雪間を分けて生ひ出でくる草の、はつかに見えし君はも。
かすがの | の | ゆきま | を | わけ | て | おひいでくる | くさ | の | はつかに | みえ | し | きみ | は | も
Collection: KKS 0478 • 恋 (Book I)
Author: 壬生忠岑 (みぶのただみね) He was one of the compliers of the KKS though his influence peaked before that collection. As a government official his rank was not great and was lowered at one point and this, it is suggested, is part of his perspective in some of his poems.
Of his style we can read: その歌は清新で鋭い機知にあふれ、また体験的、主観的に事象を割り切るところがあって、典雅さにおいて『古今集』の他の3撰者にはやや及ばない。... 象徴ということが尊ばれるようになると、再評価されるところがあった。[日本大百科全書(ニッポニカ)]
He may also have been the author of the 945 work on poetics titled 『和歌体十種』（わかていじっしゅ）. Earliest known manuscript here.
Notes
The preface reads: 春日野の祭にまかれりける時に、もの見に出でたりける女のもとに、家をたづねてつかわせりける (使わす in this case is to have your attendant deliver for you a letter to someone)
「春日野の」 is a 枕詞 and 「春日野の雪間を分けて生ひ出でくる草の、」 is a 序詞 for the rest of the poem.
Special requests for preparing this poem
- Have an answer ready for this: This poem needs some words supplied. These come after 草の and before the 、. What are they?
- Have some thoughts on this: Can you relate any of the aesthetic judgments in the "Author" section above with the poem itself?
- Have an answer ready for this: Why is this a Book I poem?
- Web search (image) 雪間
20 夕暮れは雲のはたてにものぞ思ふ。天つ空なる人を恋ふとて、
ゆふぐれ | は | くも | の | はたて | に | もの | ぞ | おもふ | あまつそら | なる | ひと | を | こふ | とて
Collection: KKS 0484 • 恋 (Book I)
Author: 詠み人知らず
Special requests for preparing this poem
- Have an answer ready for this: What are the 縁語 of this poem?
- Have an answer ready for this: What does 空なる人 suggest?
- Have an answer ready for this: Why is this a Book I poem?
21 玉の緒よ。絶えなば絶えね。ながらへば、忍ぶることの弱りもぞする。
たま | の | お | よ | たえ | な | ば | たえ | ね | ながらへ | ば | しのぶる | こと | の | よわり | も | ぞ | する
Collection: SKKS 1034 • 恋 (Book I)
Author: 式子内親王 (しきしないしんのう) Her information is at Poem 02.
Poems by Shikishi on these J130 session pages: 02, 09, 15, 18, 21.
Notes
The preface says: 百首歌の中に、忍ぶる恋
玉の緒 refers indirectly to life, as it is the string that holds the jewels.
Session 11 / Poems 22-24
Th, 3 Oct 2013
Poems: Book II poems by Ono no Komachi
Grammar: 〜らむ、や、、、推量の助動詞
せば、、、まし、てふ
Grammar: 〜らむ、や、、、推量の助動詞
せば、、、まし、てふ
Poems for this session
- 22 思ひつつ寝ればや人の見えつらむ。夢と知りせばさめざらましを。
- 23 うたたねに恋しき人を見てしより、夢てふものはたのみそめてき。
- 24 いとせめて恋しき時は、むばたまの夜の衣をかへしてぞ着る。
22 思ひつつ寝ればや人の見えつらむ。夢と知りせばさめざらましを。
おもひ | つつ | ぬれ | ば | や | ひと | の | みえ | つ | らむ | ゆめ | と | しり | せ | ば | さめ | ざら | まし | を
Collection: KKS 0552 • 恋 (Book II)
Author: 小野小町 (おののこまち) Poems by her on these J130 session pages: 22, 23, 24. We are also attributing Poem 11 to her, and her introduction is there.
23 うたたねに恋しき人を見てしより、夢てふものはたのみそめてき。
うたたね | に | こひしき | ひと | を | み | て | し | より | ゆめ | てふ | もの | は | たのみそめ | て | き
Collection: KKS 0553 • 恋 (Book II)
Author: 小野小町 (おののこまち) Poems by her on these J130 session pages: 22, 23, 24. We are also attributing Poem 11 to her, and her introduction is there.
24 いとせめて恋しき時は、むばたまの夜の衣をかへしてぞ着る。
いと | せめて | こひしき | とき | は | むばたまの | よる | の | ころも | を | かへし | て | ぞ | きる
Collection: KKS 0554 • 恋 (Book II)
Author: 小野小町 (おののこまち) Poems by her on these J130 session pages: 22, 23, 24. We are also attributing Poem 11 to her, and her introduction is there.
Notes
Sleeping with reversed robes was believed to help invite your lover to you at nighttime.
Special requests for preparing this poem
- Know the sorts of words that the 枕詞「むばたまの」 is attached to.
Session 12 / 25-27
Tu, 8 Oct 2013
Poems: Book IV & V love poems
Grammar: せば、、、まし, ものを
てふ, repetition
Grammar: せば、、、まし, ものを
てふ, repetition
Poems for this session
- 25 月夜よし夜よしと人につげやらば、来とふに似たり。待たずしもあらず。
- 26 冬枯れの野辺とわが身を思ひせば、燃えても春を待たましものを。
- 27 かきやりし、その黒髪の筋ごとにうち伏すほどは面影ぞ立つ。
25 月夜よし夜よしと人につげやらば、来てふに似たり。待たずしもあらず。
つきよ | よし | よ | よし | と | ひと | に | つげやら | ば | こ | てふ | に | に | たり | また | ず | し | も | あらず
Collection: KKS 0692 • 恋 (Book IV)
Author: 詠み人知らず
Notes
「来」（こ） is 命令形
26 冬枯れの野辺とわが身を思ひせば、燃えても春を待たましものを。
ふゆがれ | の | のべ | と | わ | が | み | を | おもひ | せ | ば | もえ | て | も | はる | を | また | まし | ものを
Collection: KKS 0791 • 恋 (Book V)
Author: 伊勢 (いせ) Lady Ise (ca 877–938, so contemporary to the making of the KKS). The "Lady" in her title is for several reasons: 1) she was a high-ranking lady-in-waiting to an imperial consort, she gave birth an emperor's child (although that child died early), 3) she gave birth to a girl (the famous poet Natsukasa) via a prince. She was dynamic and well-connected.
Her 『伊勢集』 is difficult to date and probably not compiled by her but its beginning through the first 30 poems is considered a very early example of the nikki (王朝女流日記文学) genre (even if embedded inside a poetry collection).
Ise is the third major woman poet we are reading in this class. (Ono no Komachi and Shikishi are the others. We read poems by Murasaki Shikibu but she is not considered major.) Another great woman poet of the KKS/SKKS is Izumi Shikibu but, unfortunately, we are not reading any of her poems (although we look at a 本歌, below). (Ink Dark Moon presents translations of Ono no Komachi and Izumi Shikibu poems.) The wiki on "Lady Ise" is inadequate. Here's the Encyclopedia of Japan (Kodansha) entry:
Court lady and classical (waka) poet. Her real name is unknown. Ise was the name of a province of which her father, Fujiwara no Tsugikage, was governor, and it became her sobriquet when she was a lady-in-waiting at court. She is thought to have entered the service of Empress Onshi, consort of Emperor Uda (867－931; r 887－897), around 892. She caught the eye of the emperor and later became a favorite of his fourth son, Prince Atsuyoshi, to whom she bore a daughter, known as Lady Nakatsukasa, who became a famous poet in her own right. One of the Thirty-Six Poetic Geniuses (Sanjūrokkasen), Ise and Ono no Komachi rank as the two most accomplished women poets of the late 9th and early 10th centuries. The compilers of the first imperial anthology of Japanese classical poetry, the Kokinshū, included 22 of Ise's poems. Seventy are contained in the second imperial anthology, Gosen wakashū.
The 『国史大辞典』 is still better:
平安時代中期の女流歌人。三十六歌仙の一人。生没年不詳だが元慶元年（八七七）ごろ生まれ、天慶二年（九三九）ごろ没したか。父は伊勢守・大和守となった藤原継蔭で受領階級だが、伊勢の血統周辺には顕官や文筆の人もいる。伊勢は寛平三年（八九一）ごろ宇多天皇女御温子のもとに出仕し、父の前官伊勢守によって伊勢と呼ばれたらしい。その間、藤原仲平との恋に破れ、やがて宇多帝の寵を得て皇子を生むが、皇子は幼時に早世。温子没後、敦慶親王との間に一女中務を生む。伊勢は宇多・醍醐・朱雀三朝四十数年にわたり歌人として重きをなし、紀貫之・凡河内躬恒らに伍して歌合にもたびたび出詠し、『古今和歌集』中にも抜群の位置を占め、各種の屏風歌に才幹をふるうなど、女流として前後に比を見ない幅広い活動をした。これは平安時代中期の女流文学の盛時に先がけたものとして、その先駆的意義は大きい。平安時代の女流の諸作品に伊勢の歌は際立って引用され、ことに『源氏物語』において、引歌が多いのみならず、作者の伊勢への傾倒が顕著にみられる。家集に『伊勢集』がある。
Notes
The preface to this poem reads: もの思ひけるころ、ものへまかりける道に野火の燃えけるを見てよめる
Special requests for preparing this poem
- Be able to give me the full list of words in this poem that were flagged anywhere in the bSpace document Kokinshu select love poems ENG with notes
- Be able to say what was our other せば、、、まし poem, and what this grammar construct means
- Be able to state the 掛詞 of this poem.
- Be able to state the 縁語 of this poem.
- Be ready to answer the question: Why is this a Book V poem, not a Book IV poem?
27 かきやりし、その黒髪の筋ごとにうち伏すほどは面影ぞ立つ。
かきやり | し | その | くろかみ | の | すじごと | に | うちふす | ほど | は | おもかげ | ぞ | たつ
Collection: SKKS 1389 • 恋 (Book V)
Author: 藤原定家 (ふじわらのていか) Teika's introduction is at Poem 04. That is the only other poem of his that we read.
Notes
This poem is written from the perspective of the woman.
This poem has a 本歌 from the 『後拾遺集』by Izumi Shikibu: 黒髪の乱れも知らずうち伏せばまづかきやりし人ぞ恋しき (恋三)
Special requests for preparing this poem
Sessions 13-14 / Poems 28A-29B
和歌：恋（２）
Session 13 / Poems 28A-28B
Th, 10 Oct 2013
Poems: Love poems in『伊勢物語』
Concept: 歌物語
Grammar: と、〜まし、ものを
Concept: 歌物語
Grammar: と、〜まし、ものを
Topics for this session
Love poems embedded in prose: examples from the 歌物語 genre 『伊勢物語』
Brief comments on the close relationship of prose and poem in the genre うたーものがたり（歌物語）
Poems for this session
- 28A 白玉か何ぞと人の問ひし時つゆと答へて消えなましものを
- 28B いとどしく過ぎゆく方の恋しきにうらやましくもかへる浪かな
- In-class (perhaps): 月やあらぬ春やむかしの春ならぬわが身ひとつはもとの身にして
28A 白玉か何ぞと人の問ひし時つゆと答へて消えなましものを
しらたま | か | なに | ぞ | と | ひと | の | とひ | し | とき | つゆ | と | こへ | て | きえ | な | まし | ものを
Collection: Ise monogatari 6
Author: 在原業平 (ありわらのなりひら)
Special requests for preparing this poem
- Read the full episode on bSpace
- Spend a little time with this web page: http://www.gregorius.jp/presentation/page_48.html
28B いとどしく過ぎゆく方の恋しきにうらやましくもかへる浪かな
いとどしく | すぎゆく | かた | の | こひしき | に | うらやましく | も | かへる | なみ | かな
Collection: Ise monogatari 7
Author: 在原業平 (ありわらのなりひら)
Special requests for preparing this poem
- Read the full episode on bSpace
In-class: 月やあらぬ春やむかしの春ならぬわが身ひとつはもとの身にして
Collection: Ise monogatari 4
Author: 在原業平 (ありわらのなりひら)
Special requests for preparing this poem
- Nothing. This is an in-class exercise — preparing the poem ahead of time probably just complicates things.
Session 14 / Poems 29A-29B
Tu, 15 Oct 2013
Poems: Love poems in『伊勢物語』
Concept: Rhetorical exchanges in 『伊勢物語』
Concept: Rhetorical exchanges in 『伊勢物語』
Topics for this session
Love poems embedded in prose: examples from the 歌物語 genre 『伊勢物語』continued
Rhetorical exchanges in 『伊勢物語』(in-class exercise, no preparation needed)
Poems for this session
- 29A みよし野のたのむの雁もひたぶるに君が方にぞよると鳴くなる
- 29B わが方によると鳴くなるみよし野のたのむの雁をいつか忘れむ
- In addition I will list 5 more poems here, after the session is over, since to present them now would spoil the in-class exercise
29A みよし野のたのむの雁もひたぶるに君が方にぞよると鳴くなる
みよしの | の | たのむ | の | かり | も | ひたぶるに | きみ | が | かた | に | ぞ | よる | と | なく | なる
Collection: Ise monogatari 10
Author: unknown
Special requests for preparing this poem
- Read the full episode on bSpace
29B わが方によると鳴くなるみよし野のたのむの雁をいつか忘れむ
わ | が | かた | に | よる | と | なく | なる | みよしの | の | たのむ | の | かり | を | いつか | わすれ | む
Collection: Ise monogatari 10
Author: 在原業平（ありわらのなりひら） probably
Special requests for preparing this poem
- Read the full episode on bSpace
Midterm 01 (Session 15: Thu, 17 Oct 2013)
Details will be here, when decided.
Sessions 16-20 / Poems 31-52 *there is no Poem 30
俳句：芭蕉
Session 16 / Poems 31-34
Tu, 22 Oct 2013
Poems: Bashō haiku from his early years
Concept: origins of haiku, Bashō bio
Grammar: 切れ字
Concept: origins of haiku, Bashō bio
Grammar: 切れ字
Topics for this session
Brief introductory comments on origins of haiku
Brief introductory comments on Bashō
Bashō haiku from his early years
切れ字
Poems for this session
- 31 夜ひそかに虫は月下の栗を穿つ
- 32 かれ枝に鳥のとまりけり秋の暮れ
- 33 櫓の声波をうつて腸氷る夜やなみだ
- 34 あさがほにわれは飯くふをとこかな
Poof! (those instructions weren't for this class)
There is, on bSpace, an outline of Bashō's life (yellow-highlighted areas are testable): Basho basic bio
There is, on bSpace, an explanation of 切れ字（きれじ）: Haiku kireji
31 夜ひそかに虫は月下の栗を穿つ
よる | ひそかに | むし | は | げっか | の | くり | を | うがつ
Collection: 松尾芭蕉集（新編日本古典文学全集 Vol. 70） • 1680 (#117)
Author: 松尾芭蕉 (まつおばしょう・ばせを)
季語: 後の月 (のちのつき)・秋
切字: 穿つ
Special requests in preparation for poem:
- Read Interpreters (bSpace, Basho haiku - yoru hisoka ni)
32 かれ枝に鳥のとまりけり秋の暮れ
かれえだ | に | とり | の | とまり | けり | あき | の | くれ
Collection: 松尾芭蕉集（新編日本古典文学全集 Vol. 70） • 1680 (#118)
Author: 松尾芭蕉 (まつおばしょう・ばせを)
季語: 秋の暮 (あきのくれ)・秋
切字: けり（終止形）
Special requests in preparation for poem:
- Read Interpreters (bSpace, Basho haiku - kareeda ni)
33 櫓の声波をうつて腸氷る夜やなみだ
ろ | の | こゑ | なみ | を | うつ | て | はらわた | こほる | よる | や | なみだ
Collection: 松尾芭蕉集（新編日本古典文学全集 Vol. 70） • 1680 (#124)
Author: 松尾芭蕉 (まつおばしょう・ばせを)
季語: 氷 (ひょう)・冬
切字: や
Special requests in preparation for poem:
- Read Interpreters (bSpace, Basho haiku - ro no koe)
34 あさがほにわれは飯くふをとこかな
あさがほ | に | われ | は | めし | くふ | をとこ | かな
Collection: 松尾芭蕉集（新編日本古典文学全集 Vol. 70） • 1682 (#155)
Author: 松尾芭蕉 (まつおばしょう・ばせを)
季語: 朝顔 (あさがほ)・秋
切字: かな
Special requests in preparation for poem:
- Read Interpreters (bSpace, Basho haiku - asagaho ni)
Session 17 / Poems 35-38
Th, 24 Oct 2013
Poems: Bashō haiku from his travel years (mid-life)
Topics for this session
Bashō haiku from his travel years (mid-life)
Poems for this session
- 35 あけぼのやしら魚しろきこと一寸
- 36 古池や蛙飛びこむ水のおと
- 37 蛸壺やはかなき夢を夏の月
- 38 初しぐれ猿も小蓑をほしげなり
35 あけぼのやしら魚しろきこと一寸
あけぼの | や | しらうお | しろき | こと | いっすん
Collection: 松尾芭蕉集（新編日本古典文学全集 Vol. 70） • 1684 (#198, page 112, search: 明ぼのや)
Author: 松尾芭蕉 (まつおばしょう・ばせを)
季語: しら魚（春）
切字: や
Special requests in preparation for poem:
- Read Interpreters (bSpace, Basho haiku - akebonoya ya)
- View the following Web site or image search on your own 白魚: 日本料理作一 blog
36 古池や蛙飛びこむ水のおと
ふるいけ | や | かはづ | とびこむ | みづ | の | おと
Collection: 松尾芭蕉集（新編日本古典文学全集 Vol. 70） • 1686 (#267, page 146, search: 古池や)
Author: 松尾芭蕉 (まつおばしょう・ばせを)
季語: 蛙（春）
切字: や
Special requests in preparation for poem:
- Read Interpreters (bSpace, Basho haiku - furuike ya)
37 蛸壺やはかなき夢を夏の月
たこつぼ | や | はかなき | ゆめ | を | なつ | の | つき
Collection: 松尾芭蕉集（新編日本古典文学全集 Vol. 70） • 1688 (#385, page 205, search: 蛸壺や)
Author: 松尾芭蕉 (まつおばしょう・ばせを)
季語: 夏の月（夏）
切字: や
Special requests in preparation for poem:
- Read Interpreters (bSpace, Basho haiku - takotsubo ya)
- Go here to see the octopus hunting process using 蛸壺 (even if you think it is sad ...): 平郡島の蛸壺漁
38 初しぐれ猿も小蓑をほしげなり
はつしぐれ | さる | も | こみの | を | ほしげなり
Collection: 松尾芭蕉集（新編日本古典文学全集 Vol. 70） • 1689 (#586, page 318, search: 初しぐれ)
Author: 松尾芭蕉 (まつおばしょう・ばせを)
季語: 初しぐれ（冬）
切字: ほしげなり（終止形）
Special requests in preparation for poem:
- Read Interpreters (bSpace, Basho haiku - hatsushigure)
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Session 18 / Poems 39-42
Tu, 29 Oct 2013
Poems: Bashō haiku from his last year
Bashō's last haiku
Concept: さび
Bashō's last haiku
Concept: さび
Topics for this session
Bashō haiku from his last year
Bashō's last haiku
Sabi
Poems for this session
- 39 菊の香や奈良には古き仏たち
- 40 この秋は何で年よる雲に鳥
- 41 秋深き隣は何をする人ぞ
- 42 旅に病んで夢は枯野をかけ巡る
Special reading assignment:
- "Bashō and the Poetics of 'Haiku'" by Makoto Ueda in The Journal of Aesthetics and Art Criticism, Vol. 21, No. 4 (Summer, 1963), pp. 423-431, especially the several pages in the middle on sabi. Stable JSTOR URL: http://www.jstor.org/stable/427098
- Sabi wabi definitions (bSpace)
39 菊の香や奈良には古き仏たち
きく | の | か | や | なら | に | は | ふるき | ほとけ | たち
Collection: 松尾芭蕉集（新編日本古典文学全集 Vol. 70） • 1694, age 51, on his final trip, when in Nara (#893, page 493, search: 菊の香やなら)
Author: 松尾芭蕉 (まつおばしょう・ばせを)
季語: 菊（秋）
切字: や
Notes:
This poem was composed ９月９日, which is 菊の節句、きくのせっく or 重陽の節句、ちょうようのせっく.
Special requests in preparation for poem:
- Read Interpreters (bSpace, Basho haiku - kiku no ka ya)
- Read these comments on chrysanthemums: Fragrantica, Chrysanthemum the autumn rose
40 この秋は何で年よる雲に鳥
こ | の | あき | は | なん | で | とし | よる | くも | に | とり
Collection: 松尾芭蕉集（新編日本古典文学全集 Vol. 70） • 1694, age 51, during his final trip, about one month before dying (#904, page 500, search: 雲に鳥)
Author: 松尾芭蕉 (まつおばしょう・ばせを)
季語: 秋（秋）
切字: よる（連体止め）
Special requests in preparation for poem:
- Read Interpreters (bSpace, Basho haiku - kono aki ha)
41 秋深き隣は何をする人ぞ
あき | ふかき | となり | は | なに | を | する | ひと | ぞ
Collection: 松尾芭蕉集（新編日本古典文学全集 Vol. 70） • 1694, age 51, on his final trip but now sick in bed, about three weeks before dying (#907, page 501, search: 隣は)
Author: 松尾芭蕉 (まつおばしょう・ばせを)
季語: 秋（秋）
切字: ぞ
Special requests in preparation for poem:
- Read Interpreters (bSpace, Basho haiku - aki fukaki)
42 旅に病んで夢は枯野をかけ巡る
たび | に | やんで | ゆめ | は | かれの | を | かけめぐる
Collection: 松尾芭蕉集（新編日本古典文学全集 Vol. 70） • 1694, age 51, on his final trip but now sick in bed, about four days before dying, this is his last poem (#908, page 502, search: 旅に病んで)
Author: 松尾芭蕉 (まつおばしょう・ばせを)
季語: 枯野（冬）
切字: None? かけめぐる is in its 終止形 but ...
Special requests in preparation for poem:
- Read Interpreters (bSpace, Basho haiku - tabi ni yande)
Session 19 / Poems 43-47
Th, 31 Oct 2013
Poems: Bashō — sabi
Topics for this session
Bashō — exploring sabi poems
Poems for this session
- 43A 月見する座にうつくしき皃もなし
- 43B (earlier version) 明月や座にうつくしき皃もなし
- 44 金屏の松の古さよ冬籠
- 45A 干鮭も空也の痩も寒の中
- 45B (earlier version) からさけも空也の痩も寒の内
- 45C (earliest version) 乾鮭も空也のやせも寒の中
- 46 氷苦く偃鼠が喉をうるほせり
- 47A うき我をさびしがらせよかんこどり
- 47B (earlier version) うきわれをさびしがらせよ秋の寺
43A 月見する座にうつくしき皃もなし
つきみ | する | ざ | に | うつくしき | かほ | も | なし
Note: 皃=貌
43B 明月や座にうつくしき皃もなし
めいげつ | や | ざ | に | うつくしき | かほ | も | なし
44 金屏の松の古さよ冬籠
きんびょう | の | まつ | の | くるさ | よ | ふゆごもり
45A 干鮭も空也の痩も寒の中
からさけ | も | くうや | の | やせ | も | かん | の | うち
45B からさけも空也の痩も寒の内
からさけ | も | くうや | の | やせ | も | かん | の | うち
45C 乾鮭も空也のやせも寒の中
からさけ | も | くうや | の | やせ | も | かん | の | うち
46 氷苦く偃鼠が喉をうるほせり
こほり | にがく | えんそ | が | のど | を | うるほせり
47A うき我をさびしがらせよかんこどり
うき | われ | を | さびしがらせ | よ | かんこどり
Note: かんこどり＝閑古鳥
47B うきわれをさびしがらせよ秋の寺
うき | われ | を | さびしがらせ | よ | あきのてら
Session 20 / Poems 48-52
Tu, 5 Nov 2013
Poems: Bashō — karumi
Topics for this session
Bashō — exploring karumi poems
Poems for this session
- 48 馬ぼくぼくわれを絵に見る夏野哉
- 49 木のもとに汁も膾も桜かな
- 50 松茸や知らぬ木の葉のへばり付く
- 51 旅人の心にも似よ椎の花
- 52 梅が香にのつと日の出る山路哉
Special request: Read the below comments on 軽み before preparing the poems.
When is Bashō particularly involved in karumi? —1690-94 and especially towards the end. He considered in an unfinished atarashimi for his poems. That being said, in retrospect it is possible to find karumi in earlier poems, at times.
Difficulty of understanding — There is no abstract writing by Bashō on the term; rather, it is encountered closely associated with the actual process of writing and written words, in his comments about his poems.
Two definitions:
Karumi. A poetic ideal advocated by Bashō in the last years of his life. Literally meaning "lightness," it points toward a simple, plain beauty that emerges when the poet finds his theme in familiar things and expresses it in artless language. Bashō tried to teach the concept to his students by giving such directives as 'Simply observe what children do' and 'Eat vegetable soup rather than duck stew.' Bashō and His Interpreters (Makoto Ueda, Stanford UP)
Bashō's own words (Shisan quoting his teacher):
「今思ふ体は、浅き砂川を見るごとく、句の形、付心ともに軽きなり。其所に至りて意味あり」
(What I am thinking now about style: Like looking at a shallow stream, the form of the verse and its linkage are both light. There is meaning in that.)Bashō increasingly portrayed ordinary people. 高く心を悟りて俗に帰るべし (Upon understanding the heart in its sublime nature, one should return to the ordinary.)
Karumi indicates a move away from —
唯美主義 (pure aestheticism) 時代の反俗的 (unconventional) ・古典主義的 (classicisim) ・虚構的 (fictional)
towards —
日常生活的 (daily life) ・現実的 (the immediate and real) ・写実主義的 (realism)
48 馬ぼくぼくわれを絵に見る夏野哉
うま｜ぼくぼく｜われ｜を｜え｜に｜みる｜なつの｜かな
This poem has a preface:
On a painting—
"That hatted man on horse back," I say, "looks like a monk. Where did he come from, and why is he wandering like that?" "That," answers the man who painted the picture, "is a portrait of you on a journey." If that is the case, let me tell you, clumsy horseman who roams this wide world, "Be careful and don't fall from the horse!"
Special requests:
Be ready to react in writing to this comment in Bashō and His Interpreters: The extra-long first phrase, with its slow tempo, helps to add a leisurely, humorous flavor to the poem. Is this because Bashō's mind had become profound enough to attain the realm of karumi?
49 木のもとに汁も膾も桜かな
き｜の｜もと｜に｜しる｜も｜なます｜も｜さくら｜かな
This poem has a preface: Blossom viewing
Special requests:
Please image search 膾. Know what it looks like and what it is made of and when it is eaten.
Be ready to react in writing to this comment in Bashō and His Interpreters: When he wrote this hokku, Master Bashō said: "Having learned something about writing a verse on blossom viewing, I gave a tone of karumi to this hokku."
50 松茸や知らぬ木の葉のへばり付く
まつだけ｜や｜しらぬ｜き｜の｜は｜の｜へばりつく
Special requests:
Please image search 松茸. Know what it looks like, know what it looks like when growing in the wild. Know something about its place in the Japanese cuisine.
Be ready to react in writing to this comment in Bashō and His Interpreters: As we trace the evolution of Bashō's poetic style, we notice that it gradually moved from a style that sought novelty and dexterity to one that tried to discover a deep meaning in a common object or scene—the so-called karumi style. This poem is one of the best illustrations of the later style.
51 旅人の心にも似よ椎の花
たびびと｜の｜こころ｜に｜も｜によ｜しい｜の｜はな
This poem has a preface: When Kyoriku set out on the Kiso road
Special requests:
Please image search 椎の花.
Be ready to react in writing to this comment in Bashō and His Interpreters: "A traveler's heart" is the sprit of karumi that refuses to stoop at one place or attach itself to one thing.
52 梅が香にのつと日の出る山路哉
うめ｜が｜か｜に｜のっと｜ひ｜の｜でる｜やまぢ｜かな
Be ready to react in writing to this comment in Bashō and His Interpreters: This hokku can be said to be one of the most representative verse that show Bashō's idea of karumi. It has a plain theme as well as a lighthearted tone, and yet it makes us sense the presence of something rich.
cancelled Session 19-21 / Poems n/a
俳文：芭蕉
cancelled Session 19 / Poem n/a
Th, 31 Oct 2013
Poems: 『奥の細道』序章
Concept: section structure in 『奥の細道』
Concept: section structure in 『奥の細道』
Topics for this session
Haiku from Bashō's Oku no hosomichi 序章
How Bashō builds a section of Oku no hosomichi around a concept
Poems for this session
- 43 草の戸も住替る代そ雛の家
43 草の戸も住替る代ぞ雛の家
くさ | の | と | も | すみかはる | よ | ぞ | ひな | の | いへ
Collection: 奥の細道 • 序章
Author: 松尾芭蕉 (まつおばしょう・ばせを)
季語: ひな
切字: ぞ
Special requests for preparing this poem
- As before, be ready to say what the 季語 and 切れ字 are. But, in addition, now also be able to say how that affects the poem.
- Know what ひな祭り is.
- Compare the prose of this section to this poem by Li Bo (李白)：夫（それ）天地ハ万物ノ逆度ナリ。光陰ハ百代ノ過客ナリ。『春夜に桃季園に宴するの序』
- Using the bSpace file Oku text and image - josho:
- be ready to compare the 俳句 to the 俳文 (the prose text).
- be ready to explain why you think the artist chose to portray the poem in the way that he did.
cancelled Session 20 / Poem n/a
Tu, 5 Nov 2013
Poems: 『奥の細道』平泉
Topics for this session
Haiku from Bashō's Oku no hosomichi 平泉
"Nexus" strategies in the work
Poems for this session
- 44 夏草や兵共が夢の跡
44 夏草や兵共が夢の跡
なつくさ | や | つはものども | が | ゆめ | の | あと
Collection: 奥の細道 • 平泉
Author: 松尾芭蕉 (まつおばしょう・ばせを)
季語: announced later
切字: announced later
Special requests for preparing this poem
- As before, be ready to say what the 季語 and 切れ字 are. But, in addition, now also be able to say how that affects the poem.
- Using the bSpace file Oku text and image - hiraizumi (translation by Donald Keene in Narrow Road to the Deep North):
- be ready to compare the 俳句 to the 俳文 (the prose text).
- be ready to explain why you think the artist chose to portray the poem in the way that he did.
- When reading, follow these instructions:
"The three generations of the glory of the Fujiwara of Hiraizumi" STOP at this spot and read the first paragraph and the "History" section of this Wiki entry: http://en.wikipedia.org/wiki/Hiraizumi,_Iwate. Then continue.
"in the space of a dream" STOP and read the introduction to the No play "Kantan" and the play in full (bSpace, translation by Author Waley in The No Plays of Japan). PRINT OUT THE INTRODUCTION AND PLAY AND BRING IT TO CLASS.
If you want to see the original of the No play "Kantan", it is at JapanKnowledge, 新編日本古典文学全集 vol 59 (謡曲集), beginning on page 166, search 邯鄲 (the title of the play).
In "Kantan" in English, the "in a moment's dream" (195, 196) is 一睡まどろむ in the original, "one light sleep / nap".
"but his glory turned in a moment into the wilderness of grass." STOP and read the excerpt from the military tale Yoshitsune (Gikeiki, Muromachi period) titled "Yoshitsune's Death" (bSpace, translation by Helen McCullough in Yoshitsune).
If you want to see the original of the military tale Yoshitsune (Gikeiki, 義経記) it is a volume itself in the 新編日本古典文学全集 series: vol 62 義経記.
"Countries may fall,"
Note: This is the original verse from the 杜甫（とほ, Du Fu / Tu Fu, Chinese poet 712-770） poem 春望: 国破山河在 城春草木深（国やぶれて山河あり。城春にして草木深し。）
cancelled Session 21 / Poem n/a
Th, 7 Nov 2013
Poems: 『奥の細道』立石寺
Topics for this session
Haiku from Bashō's Oku no hosomichi 立石寺
Poems for this session
- 45 閑さや岩にしみ入蝉の声
45 閑さや岩にしみ入蝉の声
しづかさ | や | いは | に | しみいる | せみ | の | こゑ
Collection: 奥の細道 • 立石寺
Author: 松尾芭蕉 (まつおばしょう・ばせを)
季語: announced later
切字: announced later
Special requests for preparing this poem
- As before, be ready to say what the 季語 and 切れ字 are. But, in addition, now also be able to say how that affects the poem.
- View these two pages for ほのぼのと: Page 01, Page 02
- Web search (images): たなびく
- If interested, I list here an article on this poem: "Eternal Stillness: A Linguistic Journey to Bashō's Haiku about the Cicada" by Masako K. Hiraga in Poetics Today, Vol. 8, No. 1 (1987), pp. 5-18 Article JSTOR Stable URL: http://www.jstor.org/stable/1772999
- Using the bSpace file Oku text and image - risshakuji:
- be ready to compare the 俳句 to the 俳文 (the prose text).
- be ready to explain why you think the artist chose to portray the poem in the way that he did.
Sessions 21-23 / Poems 53-64
俳句：蕪村
Session 21 / Poem 53-56
Th, 7 Nov 2013
Poems: Spring haiku by Yosa Buson
Concepts: Buson bio
Concepts: Buson bio
Topics for this session
Brief introductory comments on Buson
Spring haiku by Yosa Buson
Poems for this session
- 53 春雨や小磯の小貝ぬるるほど
- 54 春雨やものがたりゆく蓑と傘
- 55 陽炎や名もしらぬ虫の白き飛
- 56 菜の花や月は東に日は西に
53 春雨や小磯の小貝ぬるるほど
はるさめ | や | こいそ | の | こがい | ぬるる | ほど
新編日本古典文学全集: 春 (Vol. 72, p227, poem #575, search 小貝)
Author:与謝蕪村（よさぶそん）
Special requests for preparing this poem
54 春雨やものがたりゆく蓑と傘
はるさめ | や | ものがたり | ゆく | みの | と | かさ
新編日本古典文学全集: 春 (not in collection)
Author:与謝蕪村（よさぶそん）
Special requests for preparing this poem
- Be ready to answer this question? "Relate this to a poem we have already read." (Do your own work please.)
55 陽炎や名もしらぬ虫の白き飛
かげろふ | や | な | も | しら | ぬ | むし | の | しろき | とぶ
新編日本古典文学全集: 春 (Vol. 72, p228, poem #578, search 陽炎)
Author: 与謝蕪村（よさぶそん）
56 菜の花や月は東に日は西に
なのはな | や | つき | は | ひがし | に | ひ | は | にし | に
新編日本古典文学全集: 春 (Vol. 72, p233, poem #595, search 菜の花)
Author:与謝蕪村（よさぶそん）
Special requests for preparing this poem
- View this image of 菜の花: Page 01
- Consider the first few lines of this poem by Tao Qian (陶淵明, 365–427):
- 白日淪西阿，
素月出東嶺。
遙遙萬里暉，
蕩蕩空中景。 - 白日西阿（西の山）に淪（しづ）み、素月東嶺に出づ。遙々たり萬里の輝き、蕩々たり空中の景
- The bright sun sinking on the western bank
and the pale moon rising above the eastern ridge,
the earth looms in the rays of light that spread far out
and reach all the corners of the spacious sky.
- 白日淪西阿，
Session 22 / Poems 57-60
Tu, 12 Nov 2013
Poems: Summer haiku by Yosa Buson
Topics for this session
Summer haiku by Yosa Buson
Poems for this session
- 57 さみだれや大河を前に家二軒
- 58 夏河を越すうれしさよ手に草履
- 59 夕風や水青鷺の脛をうつ
- 60 不二ひとつうづみ残してわかばかな
57 さみだれや大河を前に家二軒
さみだれ | や | たいが | を | まへ | に | いへ | にけん
Collection: 『句橋』 • 1777, at age 62 and one of his more productive years, producing many of his most well-regarded poems
Author: 与謝蕪村（よさぶそん）
Special requests for preparing this poem
- Be ready with an answer to this question: How is this poem different in poetic focus than this one by Bashō: さみだれを集めてはやし最上川（はやし＝adj. for "fast" 最上川 is the larger river, Mogami River) Do not search the web for an answer.
58 夏河を越すうれしさよ手に草履
なつかは | を | こす | うれしさ | よ | て | に | ざうり
Collection: Found only in 『蕪村句集』 and his private selection anthology • 1754, while he was living in Miyazu, "a small town on the coast of the Sea of Japan some sixty miles northwest of Kyoto" (Ueda, Path of Thorns, 29), so a very early poem by him
Author: 与謝蕪村（よさぶそん）
Special requests for preparing this poem
- View these pages to see what 草履 for him would look like: Page
59 夕風や水青鷺の脛をうつ
ゆふかぜ | や | みづ | あをさぎ | の | はぎ | を | うつ
Collection: 『宿の日記』 • 1774, age 59
Author: 与謝蕪村（よさぶそん）
Special requests for preparing this poem
- View this for 青鷺の脛: Page
- Read this about the "Back to Bashō" reform movement that starts a year before this poem is written: "Kitō ... alluded to this others [poets studying under Buson] and implied that they were poets trying to emulate the true poetic style of Bashō. In his opinion ... haikai poets in the first half of the eighteenth century had lowered poetic standards by trying to follow the style of 'lightness' [軽み] and ending up writing plain, uninspiring poems. Chora, Kyōtai, and Bakusui had revolted against that trend by learning from Bashō's earlier style of writing, in which they found the authentic voice of the master." (Ueda, The Path of Flowering Thorn, 79)
60 不二ひとつうづみ残してわかばかな
ふじ | ひとつ | うづみ | のこし | て | わかば | かな
Collection: 『耳たむし』「蕪村七部集」 and elsewhere • before 1771
Author:与謝蕪村（よさぶそん）
Session 23 / Poems 61-64
Th, 14 Nov 2013
Poems: Autumn / winter haiku by Yosa Buson
Topics for this session
Autumn and winter haiku by Yosa Buson
Poems for this session
- 61 牡丹散りて打ちかさなりぬ二三片
- 62 鳥羽殿へ五六騎いそぐ野分かな
- 63 柳ちり清水かれ石ところどころ
- 64 朝がほや一輪深き淵のいろ
61 牡丹散りて打ちかさなりぬ二三片
ぼたん | ちり | て | うちかさなり | ぬ | に | さん | ぺん
Collection: 『俳諧新選』 • before 1773
Author:与謝蕪村（よさぶそん）
Special requests for preparing this poem
- View this image for 牡丹＋散る or do your own 牡丹／散る search: Page 01
62 鳥羽殿へ五六騎いそぐ野分かな
とばどの | へ | ご | ろつ | き | いそぐ | のわき | かな
Collection: 『夏より』 • 1768, age 53
Author:与謝蕪村（よさぶそん）
Special requests for preparing this poem
- View this for a depiction of the 鳥羽殿: Page
- Note: The Toba-dono was a removed residence (a secondary estate) of Emperor Toba and his son Emperor Go-Shirakawa. These emperors are caught up in the upheavals of the wars that lead to the end of the Heian period and through the Gempei wars described in The Tale of Heike.
63 柳ちり清水かれ石ところどころ
やなぎ | ちり | きよみづ | かれ | いし | ところどころ
Collection: 『反古ぶさま』 • 1752, so a very early poem
Author:与謝蕪村（よさぶそん）
Special requests for preparing this poem
- View this 俳画 by Buson on this poem, and be ready to relate the image to the poem in the way we sometimes did for Bashō: Page
64 朝がほや一輪深き淵のいろ
あさがほ | や | いちりん | ふかき | ふち | の | いろ
Collection: 『落日庵句集』 • 1764-1772
Author:与謝蕪村（よさぶそん）
Special requests for preparing this poem
- View these images for 朝顔. I have selected images from Edo period works. This is probably the 朝顔 that Buson has in mind, although there are many varieties: Page 01 (enlarge this one), Page 02
- Note: This poem is prefaced by "The water in the mountain stream becomes deep blue when it gathers in a pool," (淵水湛如藍 淵水湛ヘテ藍ノ如シ) which is cited from the Chinese Zen classic, Blue Cliff Records.
Session 24 / Poems 65-69
俳句：一茶
Tu, 19 Nov 2013
Poems: Haiku by Issa from the latter part of his life
People: Kobayashi Issa
俳句：一茶
People: Kobayashi Issa
Topics for this session
Brief introductory comments on Issa
Haiku by Issa from the latter part of his life
Poems for this session
- 65 雪とけて村一ぱいの子どもかな
- 66 夕月や流れ残りのきりぎりす
- 67 これがまあつひの栖か雪五尺
- 68 いうぜんとして山を見る蛙かな
- 69 露の世は露の世ながらさりながら
Special Note
I would like you to read carefully the bSpace timeline for Issa before reading the below poems.
Details
65 雪とけて村一ぱいの子どもかな
ゆき | とけ | て | むら | いっぱい | の | こども | かな
Collection: 『七番日記』 • 春 (1814, age 52)
Author: 小林一茶（こばやしいっさ）
Special requests for preparing this poem
- Be able to relate this poem to his biography
66 夕月や流れ残りのきりぎりす
ゆふつき | や | ながれのこり | の | きりぎりす
Collection: 『文化句帖』 • 春 (1807, age 45)
Author: 小林一茶（こばやしいっさ）
Special requests for preparing this poem
- Be able to relate this poem to his biography
67 これがまあつひの栖か雪五尺
これ | が | まあ | つひ | の | すみか | か | ゆき | ご | しゃく
Collection: 『七番日記』 • 春 (1812, age 50)
Author: 小林一茶（こばやしいっさ）
68 いうぜんとして山を見る蛙かな
いうぜんと | して | やま | を | みる | かへる | かな
Collection: 『七番日記』 • 春 (1813, age 51)
Author: 小林一茶（こばやしいっさ）
Special requests for preparing this poem
- If you don't know what a frog sitting in meditation looks like, go here: Page
69 露の世は露の世ながらさりながら
つゆ | の | よ | は | つゆ | の | よ | ながら | さり | ながら
Collection: 『おらが春』 • 春 (1819, age 57)
Author: 小林一茶（こばやしいっさ）
Special requests for preparing this poem
- Be able to relate this poem to his biography
Linking, Part One / Exercises (Session 25: Th, 21 Nov 2013)
Topics for this session
Linking exercises
Poems for this session
- There are no poems assigned. All material is presented in class.
Midterm 02 (Session 26: Tu, 26 Nov 2013)
See details at Assignments & Tests.
特集：Student selections (Session 27: Tu, 3 Dec 2013)
Poems: Students present two haiku from any poet.
Linking, Part Two / Student-run (Session 28: Th, 5 Dec 2013)
Topics for this session
Linking exercises, continued
Poems for this session
- Students bring three premodern waka and/or haiku that they believe are examples of "distant linking" (non-obvious but ultimately noticeable links). For each poem, they provide the author, date of composition where possible, poem in the original, where they found the poem, romaji, and vocabulary. All three poems and accompanying information should be on one sheet of paper, copied so that everyone has a copy to work with. We will try to guess the link; they will then reveal the link.