A Study of saigy3

- Translations of His Poems in the ------Shick~ki2~kii.1 --____

Robert G, Sewell

Submitted in partial fulfilLrnent of the requirenents for the degree of Plzster of Azts, in the Faculty of Philos~phy,Columbia University li__"l___ \* -- % -*-.=._ --__."_- - - E.,'I"^IIL."- -. --.--.-.C_ =I.-.*> - I.Yil=.------I-..-l--XILIIY--w.m.- I-,IP" r I

IETRODY-TCTTON ...... 2 -- LIFEOFSATGYO ...... 4

O;EP POETRY OF SAIGYO ...... - 36 A TRAXSL&TION OF SAIGTIZ'I; PoEpE IN 'THE SF1I.".'"';. IS 1 . -.=- -.*------5 3 BIBLIOGRAPPHY ...... 86

d ------LY (I ------.lIyI^..-- ~ I"-----.--- ~---. ------L1--llll-...l- ----. *"-

Ent rolduc&fozt

0 I .( r Sal zpo 1-2-1 f 1 iv5: ~iia peliod m;ri:f.3 by tiirbo-

1ei.c~ail? r-;.v::!-;*;i.Fz.;~:! I--! :-12 ;i 7 ezot;i.c;:? 0s' th;. dor,,j.,ll; of

the FLI~~LT~~T."~"!far,iLy in_ i'L-l :-i~d--ii~~~r~-~,+ii....&- eeL~tv.ry,ari.str\--r-.54' .JL - c 1.1~

eorntrol. ov~r3spz:lese society tsg5-61 to r.:2a:cen. The ~~'OG~SS

intensified during the iwelzth century i(herL the militcry CLI^I!P

2ao:e into conflict. In the Geipei Bar (1180-1185) the n:ost

?owerful military clans, the Taira sird the blin~r:oLo, vied for

~ntioaalsupremzcy. Thr establishiwnt of a milit~rygovern-

nznt in Kamzkura by thi. victorious ?!inrzol:o ultixziely madc

:he duties 02 the court nobi1i.r~nerely erigty ritu-1. iihile

:he role of the court became increasingly superflu~usin the

society at large, zeal and cor~petitionaco:lg courtiers in the

vorld of poetry becaie more intense. Being published in an

imperial ailthology becam a forn of in~~ortalityfor the court

~oets. The conservative and scholarly school of court poets,

:he ~okujo',disturbed by the innovations 3E the rival 6ijz

;chool, competed rAiiththem :or the esteexzd honor of corpiling

:hese a&~thologiescorr~r~~issioned by enzperors. Because he had

Iecom a priest, Saigyg was able to rer;.!aln aloof frorn these

:onflicts. His poetry reflects hLs lack of :nvoLv2r:enC- xith ------=--*- ~---~----.-----=----*------=------coiltczt,~>>orarpc'isputes. I;: is ~?<-nixedfor its ~~T~C~LT~ZSSof style and ccncern v~it.11.p~rsonal experience in art era wl'rien poet ic. artificz bras the ril.3.e. At ttrz sari12 "Lime, the r~:elanci.~oly

. -0 tan2 of Sal..gyo's r,s%;-ry is coz~c~j-da~.-ciI;charz.c.teristic of the

~;edieunlpcx-iod.

ginal tral-~sl~tionsof ~ai~~z'sninety-four poems in the

----Shinkokins;hZ 2-- - the eighth i~iqerialant-hof.ogy coxi;~2etecl in

1206, are offered as well. , -- iis-<,:a G_T $:. -7;) 62 r:-43 TCC~.~J.S~ The iil ~XC::,L;~I-~"T~?r-,cdiet-i?l

3 * :las I'.f~.g 1j-i~~1x1 t?i tii ItLlc ,! GC iS'i~,: 32$;rL2sp. Det~1'-- .< . 1- s

3f fris f.ifc, hor::v=.r, J? 'i;i= 11 o;?f-cc_-cdby 1~g~y-duntil quite 1~c2ntly. FT:OGIit ii-aofa,-,il ~Liii;~of CU~TPI~LS.~a~z~ilable

~iograghicaln~cerial, scholars have constzucted a far trore

:omplex picture of saigy5 than traditioiial conceptions of the

3oet suggest. The view of SalgyZ as a remote priest. has some

~aliditysince he frequ~ntlyvithdrew from society for the

>raetice of religious eusteritins. But Saigyz always main- tained contact with secular acquaintances; moreover, through-

~uthis long life, he mer w.ny of the outstanding reyresenta- rives of the factions struggling for powr during the twelfth

:entury.

The legendary figure oE ~aigy5ernerges froa several

~iographieswritten soon after his death by people who had cnotm him. These accounts frequently rorr~a_rlticizec!his life

1s a wandering poet-priest, Among these early biographies of

;aigyd, the ~eniCsh8is one of the xost extensive. Fhile this

~orkhad been accepted as an autobiography, textual analysis reveals that t'n; Sen-j~ssu.- . so cou.3.d not be a wr!c by Saigy5, since it:s style cr;;b tli3 teiz,:, used in Ft art5 ilr~c~~.~~~s,c~cJ~~E~Ic: of

the poet, ar,d sinee cez-kain h3-s Lori cal. -i:elcx-e~-.-.,.ijsare a,rqtxas-

ti.s;z~:F;ly incornei;';. Eb: is a-~r_r;.j t;h,a~~&I-1:to 192 tkie t7i;l-k of

<, * - #.'- frj.eilds of s;x;~ cs v,-z j yi.%, -a~;-k:i" th2 Pozt' E de~tki. Thr- Shin- --* -

. ff..3 ,. " ," e * .. 11dsho c.~sc~~,it;st~22x1 -3 p i i,:--; raE ii.Tz, PC??LX~z:~~d reli- C -L -

gion, ~C,SC~<-~I~Si

his ~raracic:ris~~s,, PTL~ C*;A ::li..s OTL ft-ES r)?c"i.ests ~tld1it:er~ry

figures of the period.1- 0~:ii.r.early biographies of Sslgyo. I-=r -. - . -C.L mp~t:oric7t-"ri- J~-L-L 2 ?:.t4-..-o ~2~- include the -Saiogr?? &! .6 ~~~~oF'::~~-zos~I.:----. - 3 -saYT 1 ..,

)s -*,- -,------,-,-) shonin hosshin-kl arid others. 2 TL1e --Saig~o m--,--.-,r----zrono-atarf .L--=% J for

instance, was en expanion of the el,pl.z~~atorynotes attached

to the illustrations in the Saloy?? zonogatarl er:aki a book ,-,,2" --,- 7- ---A *- --,, -_;__--_, 9

of illustrations depicting the life of the poet by the artist

Tosa Tsuckata ~f the mid-l

Elany anecdotes abozt saigy;, most of c~hichare apo-

cryphal, are found in 3 variety of collections of folk tales

such as the thirteenth century ChF~ei.hosshiilsh~s Is and Im.2 ------L=v--..3 -

~ono~ateri.- - The -.---.--&.L--.-fma muno~at~ri -- is a collection of tales fro~i the twelfth and thirteenth century compiled by Pujiwara

Nobuzane (ca. 1176-CE. 1266). In this ~~r~lpkit is related

'~ujioka ~akukarb,----Kazeki~rs-?LarcnlzcF.i ------.--- IIi id25 &;zskg- shi- (Tokyo, 19151, pp. 476-$73.

L~heseo~orks are discussed i-n Kezzmaki ~eijiro',-SG~H: --- (Tokyo , 1947) p. 7. -*-*------Lz*->------"------..------. .

*- that S~;i.&yafihuu~1-~'1: h2 1:tiuS d bi ke to ha~t. Fuji.wa~a Sl;t..9rL2ci

(1114 -120l;) , e Er.ia?zad ad~302II, LIIG.~UC~I_!one of poems ir7

. =* the ..---*Sexi.,;~,;:-~.i;h ~-*c*- , tta2 j T L,i;:r. .;:I 2.. ~i~th31cigjy Sh~rnzei~JZS pxep~7:rir~e 09 but tli:/ri ch~~,g~?slhj.~ I~:~-G~~ Feeltrig t:.b;ai.: -it nas 110t ~1~1:thtl:~

effort,

e. LC% One of th ? CJ:IC'-Lic c:rj*t--i-~~i-/ !b~~:Z15 P~:OU~ SrS-:>yo is ti-tc

G@~I-J~TS ..i 12 1 ,--1112j-s Ls a ~~c:+'i'dof the c11-2e-t.or ~otobz's ------*. - *--*.,--. i---mo=* -*--* rerhaarks en Saigjraa 2nd pcx*iry i-n gelieral 2nd is still accepceecl

as critically so~iod.~Gotoba, sn accci-plishecl pact himself,

oversaw the editing of the ---Shlnko!cinsh~, --.--- --*- His rdrnj.ration for

Saigyo was based on a profound understanding of his works.

Gotoba calls Saigyo- 11 2 nztural poet" as opposed to the dom-

inantly artificial aristocratic poets. The -----*--GuhFshi: 7 spur-

iously attributed to Fujiwara Teika, is anotf~r-rworic concern-

ing poetic style and poets which contains Eicf itious anecdctes 6 about Saigyo.-

With the exception of the Gotobz-in-D--.-.-.+-.- ookud2n these

--.P-7--=-pp-

3~rnamono_tsri - in AT--eatarl, ed. Fujii Btoo ------Y&;-d5 bunka dainishu 2 vol. 5, (Tokyo, 1926), p. 148.

5~ portion of the Gotoba-in-A> c_olcudea-- --*a- is quoted in "Sai~u5." Takasaki lies-hi 6;. ed (12k2. b~~fizak~1;:- iiten. I va 2 .4 "U.ICP-&ll--~~->---2~- 3 I (Tokyo, ?963), p. 397. e* cta3:acy and. help pro~?aLc- "ihe trad.ifi::rsal. coilccpt of Sai.gyo as

* nr: a remc1Le n%di~-\:~l.recl.i..ca, Sa~gyo ' s ox;;:. vrsrks , ialcluding the

La S a~.J;,:._~,.Eri:~-{ 1: ?hen SF.L-~~:::.S~i~. ~gn~~:~~~?.~.,n- -.%.-- -.%.-- ~ .--." ..-....e< 3 -.<"--.beL-"L' ..=..-., .,> - 3 ~'-.,p.-d ~>-..*-->- 3 --.-~ - *.---.. ~"a.A%.-

r3- ,r:.iy?P1~,*.-'>C )1L-.:>Rr,Tr-,c1ii . * ~1s~q, $ , . , , . . . ., and S a:i.gyo J~ --, ..-a -.- - . ..- ...,-_.., ...,, ,,=,*..,.., 3 -- ..'.--* --.".

works hz--,teen rccogai::ed oi7ly in t-he Last thLrLy years. 7

Froril the e:itensive introductory re;i>~rksr;l'riich precede many of the poems they inclt~de,and from the poems tti2mse"bv"s, a wealth of biogrc7,phicz.i information e;;ierges. The first five of the above-n~ntionedvorks arc essenti.elly different ver - sions of ~ai~~t'scoqlete works. It is bcl-ieved th2.t they span the .+hole of SaigyZ's life up to his trip to the T"3holcu region or the Eastern provinces between 1135 and 1187. The two utaawase were cfri~i2iledafter his return fro3 thls trip, while the ~ej'5- shonin ------danshE is based on lectures and poer~s delivered at the Tse shrines in 1165.

Probably the most extensive and recent work analyzing

SaigyZ's ~70rZi.sand the research dcne on them is Kubota

6ho"ichirc's ~aip~~-n~~~c~.IE is on ~ubota's "~aigyo- pp-p-p------7~ee~azamaki's , pp. 9-16, for a smaary of t-wenticth century Saigyo" research tap to 1947. -a-X _--. sm--.-e------.I--w I^-L-~---.--I------I.--- .------=---"- neu,py~"Swithin this bo-k thii t thcl f ull~~,~:inghiogrepiiy is primarily based.

cl,:.,sceimd2d froi-d a b-,p'"-.-E.C1cjI 1-2 tk:; 77s--~i~xr.a~~. * * The child $?as n~f:~d

C" 1 re Nariki.yo . Saigya c, rz;.;I7,:?s!.,y, g~~.ar&.~;at. the pal.occ in Kyoto ,

more to rituel than to combat. Sa,igyBfs brother, Nakakiys, becarcz the body-guard or' z. regent, Of ~aigy5fiirnself nothing is known until 1129.

In tbat year Saigys net and studied with the contro- versial poet 1~"linarnotoShunrai (ca. 1057 - 1129). Shunrai, who compiled the fifth Imperial anthology, the tween 1124 and 1127, greatly impressed $aigyC. Throughout his subsequent life, his poztry was greatly inflvznced by Shunrai' insistance on a flexible and broad use oE diction, and on the

"lofty and noble" (kedekaku- t~~ro1c.i)style in poetic con~posi- tion. At the age of fourteen. Saigjb made the acquaintance of

Fujiwara Shunzei, who was destined To become a leading figure in the poetry circles of the capital, They nzt either at the

8~ubotaShBichirC, 5 no kenk~E- (Tokyo, 19621, pp. 763-781. . c9 fami,l.y, honi Seli-gyo ~2"ssoon to serve as a f.131r~:j-0%1.Tr?~i:%tc?dz. 9

I- t~ have been the i!.rst p3~c:t>il to -~~C'C*C,L!~T?ScigjloZs shi.~ities

8r7"! "-- "--.'"' * as a P,T-:,llb -- ?,&: t'-63 L.J*&:J-lr: I::Li-.'t 5;-:;;:-3731.:;$3-%7 2 f.11 the arc of poetic

- 4 Ohara, together :sit11 Shi~pzej.lc;d thnn pa2tl.y ci-rele of [qhich

Sai.gpz was c2 ~1'3~i!!er,Saigyilis posii-ion in society as a war- rior restricted hir~ fro;^ attair~ingadciitt.~nce into any QCkzr aristocratic poetry circles.

At the age of fourteen or fifteen Saigyi"o becam a body-guard for Tokudaij i Sarrn-yoshi., the head of the Tokudaij i clan. His relationship with this family proved to be signi- ficant. The Tokvdaiji were proninene in court circles since they sere related to the iaperial fa~ilythrough marriage.

Akiko, a Tokudaiji woman, was a consort of the enperor Toba

(r. 1107-1123). Wnen their son becane the cqeror Sutoku

(r. 1123-1140), Akiko took the name Taiken-mon-in. 10 saigy5

g~anjakuoezns the Three Jaku, referring to the priest ly narzzs which Ta~etada'ssons assv-izd upon becoming priests-- Jakunen, Jakucho, and Jakczen. #Ohara is the district in Kyoto where they lived.

lO~~onthe ascension of their sons, the mothers of the ecxparors changed their nmcs and add the suffix "~m-in.I I Throughout this essay this worim is referred to as Teikc~l- mon-in. greatl,y a$rp.;.~:e& th2 c7~2r.s s t.&o epp:r2~:,the poetic trf-ents

. =- of the yo~.LhiuSS~z.gyo. He ~~isfriendly 5:liklr nz:ly sf the.

Ta-J.sL,z;is-,~i:~n-:?.9:t~ I SC?I~,tb~ &;.--\:~r0y . S~atulcts, a.114. Sa7'-,>o v-1" vtnich was

expression of sponi-.alzeous sentir.knt~i3iia their poetry at a time la. when poetic artifice was corman. The Tskudaiji f arni1.y was itself Emown for its poetic achievensnts; both Sancyoshi and his son, Kinysshi, were poets of soma accor~piish~.ent.

Through his relationship with the Tokudaiji, Siaj-gy; came to the attention sf the ex-eniperor ToSa, Taiken-mcn-in's husband and Sutoku's father. In 1136 the ex-errperor asked

SaigyE to join his Shitahokurnen forces .I2 Folloiiing accept - ance of this position, SaigyB was al1o;;ed to participate in mny activities of the court. In the fall of the same year

llsee Fuj ioka SakutarS, Karnal;ur~-!:crm~chi-.-.----- Xdai- -bun&8h~-shi --- (Tokyo, 1915), pp. 505-516 for a thorough discus- sion of their relaticnship.

12~heex-erL2eror nainteinsd his 3;:n cozrt and arned forces after his a'_dication in 1123 in keepi-ng with the In-set of "govern;.l-ent by ex-ezperor i 1 which was established during this period. By this systex ex-enpsrors, freed from daily cou-rr ri~uals,actually could ee;rert narc irzflu3ncs than the reiping ecTercYs. in prlich he Es TQ~;I,'S g,grl;io~,s2-5-gYg ~;;Bs present Gn the

e s occ~si-onof Chu.rrsc;oz,i Fi~~nzZ:xm!itc'snfferfrrg eflrysr:;ltEj.er;!~~a;fi~to

the gardsns of Tobzfs pi-!12:ce. -A& Tnkudai-j 2 Kialsl:ige ' s suo.o-esOD -

* c- t~o~~,Sa.-gys 336 ~~~;.r~l;~T,J~;:~~~Psc:~~c hbo~t t,hi~ OCC~S~O~.

..'? '1 CJ . .., 2 i. i:.r'.-; These arc S a2CI. y ;, s c, 7.i" r: j.x~j~q im ~"pls .

It is rea:::;;-t~:: i:l;.ir.L 2-r; 11.35,when S2,igy5* i73~ t~:c,-.-"I V LIL>? ) he llnd bo.ck a wi'c c,ra:I, 3 cli!J.c",, ~~o-y;~+.2rthere is little in- formation abouf thna. %;-OTL:, COL~~01: his peens writte~~during this sznz year, we le2rn thzt Saig-yo*a bcgan to long for the priest's life. He visited a. frierid, ~Enl.n, at ~Grln-jiwith the poet ~aij;, On this occaion the three of them wrote -rer,E (linked-verse) and --waka togetirrer. On the tt4ienty-sezo-;ld xizsnth of 1139 thz ex-c:i:.peror

Toba as well as Tokudaiji SaneyosExi. and saigyZ pr~viertredthe preparations for the Buddhist rituel to be held upon the com- pletion of the three -storied to:.~e-f of Anrak~~ju-in.This would seem to indicate that ~aig;~;had relatively free contact with court society at this time. Again, in the same year, we find that he co~posedpoem upon viewing Shinto kap,v,ra dances and music being pzrfozmed in thz i~perialpaface,

The twenty-szcond year of Saigyz's life (1140) began rather lightheartedly with his co~posingpoem Gpon hearing the bells 2nnor:ncing eqersr Sutoku's depaar ture on a pilgrim- age, 2nd by his vlshti~"gfriends in the Sigashiy;~~; ------.," ...-. "-=.-- -=---.--.-. ----, "---.----rn--=- *.-----*-*-

. *-% dis't-ri.ct of 1Qo.ko. Yet it bj2.s in, ~lp5-sye-"?: tiirk SZI-F;:.~~$7~-~-.d cidccl to enLee the pri.esi-,l-laad, The r;lo"iivct%orl for his &ci,- si~nto bece>r*~ca pji.l.es'l: h3-s teen .;:Ed.cly ~fje.zulatehZ,upon by

a* Sai.gy.~ Cbii,*--a,- G?:~Y~z.~,.>I-L~.-..l.b-~~.).i- j7 t.ij3~~' fi+.II_ i~?tc~ thre.2 categox:j-es: a ~Lr~-dhis~~~.Ts~~~il~~t;~w:- ..j i.2;: 2, p~c~;-~ 9 -, -L.C ii,:;-tlj.~c-?,1" and an un-- happy 1-svr af faj-1;-

Thn, reason c.~rs,-..r~1,;rj3 i; froli-n- -. 0- '-- \;\--.-~itI.y Z07.i ~c"L~-~Yos aba~d~~j. ing the world is that he had ac 2.1~early age developed a keen sense of the transitory r~~i:ureof the world, In pzrt this awnreness is attributed to sa.igyZ's deep sensitivity. This innate sensitivity was apparently reinforced by SaigyBss per- ception thst the elegance. of court life trould dj-rninish 2.3 the old social order broke dsxn. It was in fact in the next year that his friend, t1:e evperor Sutoku, was forced to abdi- cate.

Fuj ioka ~akutar;, a pro:~~i~i~ntS~.,,LDB scholer , con- tends that ~aigysentered the priesthood in order to devote himself fully to poetry. The secular poets 02 the day,

Fujioka asserts, were aristocrats who in general -note poetry as a diversion for employing a11 the vain mannerisas charac- teristic of their clan's style. Clans had schools of poetry identified vith them. In such a 'literery ~iliz~.,there wes little place for the direct and vivid ex?ression of saigyZ1s 0 I priest, Sa%gyo SOE.;:?~ a way of 1ii':c b~hich.;;g~,ld give fiir;i free-

higher i.~.~l;. K~?:ri.ltadiim.&:co,C 7. "2 . cs for -j~~.ta~~~~,~1.1sus ilkrat

1LJ- a" I before he teca~~za priest, Kazom2ki K~ijire i~ldicatesthat saigy-d regarded hi.s feelings for this so:ilen as sinful arid

I that he had difficulty suppressing the attachmnt even after beconing a priest. Sevarzl of ~aig~F'slwe pozas written 1 soon after he entered the priesthood zFpear te deal with 16 this unheppy affair. mile polygamj ai?d to a lxge extent I promiscuity were conlmon in lleian court society , ronsntic at- I tachmonts between those of different rznk were totally unac-

ceptable. This love, so contrary to the rigid cl.ass strccture - --- 13~ujioka,pp. 499-500.

14~ubota,pa 129.

15E'or 2 discussioa of this af1ai.r see Kaz~i~8k.i'Xeijiro -

-Q-~eioya (Tokyo, 1947), pp. 168-171.

16Two poerils in the Shinks'ciii~hu-a s?ccLficall.y rsfer to ---- ,.-a- his 10~2affair (see poem nos. 43 2nd 49.) A11 oi his poems in the Sl~Lnkokinsh::Is) hotraver, deal. with sore aspzci of imEul- filled lo-JG . could not bs fulfiLle,d..

It see35 clc;n?: that Sa3-g~~. ..C? I s deci-sion to efiter the

" .I p~ies"i;~~l;dy,?-:,- i,T,-F"....,. LL --.-,.-OF<..., i_,_.. ,! ~y several f z,:to-i..s : h2.s Bt~.da?klistic

awar@nc;su of t:l?,c< i-i;_.",?,:r.t? sf Zi:Er_., his p~ez2.csspi,ra-

ti.ons , arid ki5.5 G:~~.-~:J-:;'.I::I A'J l_~.;:;z?Eap,-;: , thp Sa:ni; ti.r;.:,.z, krzsszvel

*, j-t 93i1'3~1d b~:~i~T~~.::ii~';?@3332c~. Ck!%:t b-,a,zti,,!in&2 pjri~~f~Q-,. n&-l in

1 L Japsn PIPS 9 CO~~VOLI~~.;:~-:;?:&,IL LC!: I:?i.t?s:: 5213 L-,re seekins nol: a

cfoi.stered c:;-i.ctencz, buti si.u~;Xj*f rcedo, - frofa: the ent~~rngfe-

ments of dally Life. This Za(31: of dzcp conviction about the

holy life is ill~3stra;:edby the fact that freqGently whan

aristocratZc 'rieian ladics bccaze nurls, they took thl; torsure

symbolically, merely triri-2ing the ends of thcir body-length

hair. It is also necessc?i-y to be arlare that entering the

holy life did not indicate th~tall conz~nicatio~swith one's

former life came to an end. The cocyse of events in saigYE's

life illustrates this, for, rhile relations with the aris-

tocracy in Kyoto lesser.zd after he becax a priest, he was never totally isolated from society.

Students of saigy: belie-~ethat there is ample evi-

dence in his work to prove that be n2.d~a realistic ap- praisal of his position in court society and of declining

court life itself before beco3iqg 2 priest. This realistic

and decisive aspect of SaigyZ1s character is considered

unusual in priests of Lh2 citzz, 30st of TAIo:~! w2re -----D.--~--l-.i-L-.__l____.__.-.--,n~.- ---- =--- .---.-.-,- .-----. -- --.-.-III-.-.--. -*.> -> >-*.- -~-.*--.

&j Se213~~4:,vr 4 ni.-< '2 -- ..& ..-.....-., .-._,,t-o,zr.a~s. ~ai~~ji';~~?;7~j-f~5i:e~fthis s~rong ::e.sj-l:l=

thrsc~~hst~this life, exp;.:ese-i,n..-c3 ii: ti-!l;ro;zgla the fouira1~tLon

giJaY f3rOCi ~.~,-,.'"z-*~.'r.:L:.i~hc;.i. o.-*~f.,+!.-"---~t~_:":l::!.:'~.p-r::~+ *- gar. ttle ~)i~.i.l;asz of enpac...ino ‘2 t ,L--&- -- 0 0'" 0

a. XXl, 1-r~$1 ;2 5;?.<:ci?b,;!- -> -,, , - *

~~rl-~iri? fLh2:t SZtj-gyC " -c,,.,.-,, a pyfpr:j:. t;?;~$15rfis he touIc the

. C=% priestly nsm? Sakgyo. saigy;, rch.ich r~~~r~-~x.- rills-* "~CI~II~FJ~S t I I -

fers to his spiritual journey to;:zrd the t?eske;"rra Paradise.

After csrr~pasingfcrewzll poms to the ex-e~pzrorToba 2nd to

others, ~aigy$spilit the winter in thc mc;~~.ntaT,~of Kuraaa, a

place for the training of neo~hytepriests n2a-x- Kyoto. He

left behind his wife and dsughter .

In the first few years of his life as a priest, Saigy?

lived at several Buddhist sites aroui~dthe capital such as

Kigashiy~r.la, Saga, and GL

this tine expressed his thoughts Iton Leaving the w~rld."

Thzy reveal a critical attitude toward the existing society.

Sone were wrltten in the popular twelfth century form,

, or hundred poem sequence,

In the following years a n~qberof events deeply

affected the life of the court and ~~i~~z'srelationship to

it. In 1141 under psrental pressure eFeror Sutoku zbdicated,

E-iis f acilrr , rhe ex-ei~,,;,erorToba , iripu;;nrd Sutolc~~'s -----I------.--<---=------I------.--<---=------Is*-- . . legxt~_r~~g,r,ysince in_js 1n.n ;l...'k;i.r,T$ike~?-- m:on-in ~-,rve- bil:thr to hlr?

only a yeor sfter she had I.efe ,the service of ~oba'sgrand-

father, the e>;-::rir-,6:;'oy Shfrn!:~.v-~>. ba.co~ha.Toba's consort +

then ei.svaw.A.. t!-;,-.,..r!r..-? _I,,., of h;-e fg.-\r.jr%te GUL?SOT% Bi.fu!

" *. *-, .a non-j-p. to tlie c, ~-3 j.:.o--io:: . This c.cg intexls hfj-cd

the bad f-p?,j~,~,b~k:,..,p;:;:i Ssj-~l;lj z~;--$: y~ot;;i, v-$i~becc.7s~lz j-ncreas-.

il~glyjnf%gel;tial 3s t;-2 ~03.2~:J:ino o @x.-crcperor a2.2i:e-f the 17 death of his grand2~"i-hs~, Shir=!~c~~~+-L+LdLkcci, in 1129.

Taiken-mon-in and several of her ladies-in-waiting

becanc nuns on the siz-:tecr>.th day of the second month of

1142. Shortly thereafter Saigyr visited Fuj iwera EorLn3ga

who six;leen years later bmded together with Sutoku in the

~cgcnInsurrection against another of ~oba'ssons, the eEpero-

Go-Shirakawa. At ~orinaga'ssuggestion, Saigyr copied a por-

tion of the sutra which had inspired Taikcn- an-in to becow

a nun. At the bidding of one of ~aiken-xon-in's court ladies

~hcnagon,Saigyo - also wrote poems related to the twenty-

eighth chapter of the Lotus Sutra. It is recorded that his

friend, Shunzei, cs~r~posedpoems with him on this occasion.

Two years later, when he was twenty-six, saigy5 was

asked by Fujiwara Tametada and his three sons, the Sanjaku,

IF. Brinkley, A Histarv of the Jqa,?se People from , - ---. -.- --- the Earliest Tires to t-he Pie: ii Era (Nen YO~:;, 191-5), p. 289. - .--CI--^-_--_*_--- ",..L-A- .-- enthrtlogy . Fz~jir.-zusi k,kir;vt;e cs~iplleca*-Ithis E i~th~l~~y2C the reqi~~~toxC LA;"1 ~..,;-i::~;zi_.or Sa;ccrlt~l in II./,/:. Oir "crhjs crcctlsioa ttlzre \:-is ri-1 c-,c"!(r-,;? or ~i,::~;rs EY 328 S11~y0,. -3 Jalcuctia,. ead

6the~5, -2 s<:11')I :i7:5 j-i ",* C: i: , h~:g:?\~:.j~", tkir t i-,hficCl h. ::: ~,vzi>is

. >9 7 - plere ;zlien ~"iai-- a *.pi;sc <, th:..t -is, i;'ilsl; S2i~.7(,i 3

t was b22~:2~1-~tha c~~-:,~2 in:_ri;~- . ioLlr i:~dth:ircyy-ci5:iip:.

Th=t derkik 02 TpS mci>-rr:3;1-jn 011 f-.he hqenty-seco~ldof the eighth cant-h of 1145 d3eply sadd.2ned Szigyo.tea It Zs gen- erally believed that his dcsire to travel to WLI~SC,province ster~xnodfrorir this evelit. He had seen the ellperor 9 s rmather and her elegant csurt ladies residing in the rude huts of retreae where she eventcnZly died, This vividly illus%rated to Saigyz the transient nature of the wo~ld,convincing him of the need to fa311.ov7 2 a~redisciplined Buddhist life, In late spring of 1146 lady Woriknwa, one of the court ladies attached to Taiken-son-in, acd Saigyoa exchanged pssns in aem ory of Taiken-mon-in. After lady EIo-rikai~amdlady ChEnagon cane out of mourning for their deceased mistress, Saigyo visited them at Ninna-ji, Nishiyaaa, and Ogurayama where the: wzre llving seclzrizd lives. They e:ichzr;g2d po-..i..rs upon Ssigy; visits. 18

18~orthe exchaagc bet1ce.n Saigyb 2nd lady Horikn:.:~ see poem 93. C" il-ilJ-L;+6 qqj p--d ;2f;-k

- ,- . -3 E t kI.:~v?li-:.?*l 0: L'i3~1: 3.e-j f., i di,,.f~ is"?:223 OL his life ha y:oirlj. l:r&.v<.i to ;:GLEE in sezcc'r? oi gr,!.c' for etiis tecple. During this ~2~2pci-iocl, sevc:i:al. po2:rc ;.....ye coi':$osed by sai-gy5 in which place r,amzs such as Ise, Yoshins, end Kiso were men- tioned. These indicaked an increasing interest in travel

hichp-ovided new inspiration fur his poetry arid his life

0th of which had been growing stagilant in familiar surrsu;ld- Pngs .

In late spring of 1147, SaigyS" visited Sai-in of

osatsu-in no saki, an unnarried princess serving at the Hzc;o

shrine, He offered her a poem expressing his fare??ell before ( leaving on a long journey. From this poor!i it is inferred I that at about this time SaigyE, who was now twanty-nine, set

out on his pilgrimage to 9vl~~tsuprovince, The trip as mder I taken at a leisurely pace. In autum saigy; crossed the horde.1 I I of Shir2.kn, arad then xzxrt by xay cf ",he Bincs of Mukuma, the I Bridge of Omowaku and Xatori river, We arrived in HiraLzsni I------.-- -. ..---- - I 19~utsu:~cs a province iri t>2 extrer.2 r.or th-,castera sectii;~of 5Ionshta islclnd. "i.iu"L~.]as alsc called Xichi. - - -- blocsoAI-sat ;I~iz?li--j? 0:; I,i::, l'zk2 , cros si-nz through

=* Shino tsuke pro7sinc.c, SZ~Z~C)re*Lurtlcd to the capifisr.1 so;Ee tin^ betae~~nthe autccn 2nd tsir-~"irr of this year, One of the p0err.s which re~1.ai.11~frorn tixis trip vsas written when ~aig:yE visited the location of the tomb sf the tcnth cen"t~z.y court nobl.c,

Sanekzita, in the district of Netori in 1~:utsu. Sanekaea was exiled to I~lutsubecause he xas involved in an. argu~entat the court. 20

then he returned from Nutsu in 2148, ~ei~~?i*estab- lished himself at the Shingon teqle on >it, Ggra in Kii pro- vince, approximately fiftegn miles from the capital. ~"oya-ji became the center of Saigyz's life from this tiae until he moved to Ise province in 1180. Saxe scholars are of the opinion that during his first year at Eft. ~5yaSaigyz mzde two pilgrir~agesto ?It. %nine. Kubota Shbichir;, hovzver, believzs these i~cidzntstook place during an earlier tr2ini.n: 21 period. Sanir,yo. - - - p:ro"cz esc,v,nrnl pciP2il~&o~lfJ ~IIEEC -~OZ~TKZ~~YS.

hlthirr~g,lrS?.-.S,yZ lLarrc! or: Pit. K

Sa-igyor', cc::? l'crin ILC~--:l>i3::, T, i-tby;'" - ;',id ~s~iix=%~d1-edy ChZna~on . . 7. ?< <>r;&? asad I.rjrl; so st?^, t:,> -? LC ?& . -'-n- ~:id-Li-ri~t.0 T2?-?~212- 17 3.~1wi-11 5

a. . * froin Kcii..r,;jd-~~. x:l~z:~: tiz;j- I *.< b:,n I~.v,n8set:liadcd Zivzc, to the B2-y O-F ~!=(I,c;.in$. ': c E cLi? t ; 7 a br L;,:JGZL 3 143 zri4 lU0,

U Saigyo rzzi-rag!.ed ~itko3.d frl'.es-,i:s e.21e1-1 hc s;iv ca draft of t11e

----.dKyuan hyel-,~z:,hu or, ~~p~~-~~~&r~E?

In 11.51 one of SaigyF's poeii?s was selected for the Shik~sbE,.p>l_r_.-.

It was entered in the anthology as 3.n t 1 aazur~yc~ous'~poern since poems by persons of his status would not o~dinarilybe in- cluded in an aristocratic collection, And in this sam? year

Saigyo" wzs asked by Sadanabu of Seson-ji to find aid for the cons trrzctio~aof the Kannon- j i..

These meetings with friends, however, were not fre- quent, since most of SaigyCfs ticla was spent either in the company of priests on Mt. KBya, or alone on religious pilgrin- ages. Beginning in 1152, and for seven years thereafter,

Saigy6 would each fall go off on journeys of conteaplation and self-discipline. In 1154, Saigyo" and the &v:o pries t-poe ts, Sairerl and ~~j,.-~t,~LQP-:.-.--~-. LO C: . 20 . IF. 1155 he I

exchangeclpoer;:;; on Kxt T"pLoy - a wit?^ J~lr:!cuzen(one of the senj akr-I)

. , vzk10 had jus"h-.~coti:ze I,rzesi:,ir Beti.i'cen 11.52 ~nd11-55, Sai.gyS

travel.lzr;it. In the tc;;~! P~:ovi,rl.-c,.: ~~13~vs% si-ced BcIlj- -no-.mPya

i-11 the pi;o.v$_i2c-~, of l!,i,",.-; ,,_~.e 7.7:;:ill- 1-e tl-~~~~j~~."'fi:?~s %?;-?@re shrj-ne 3

fly Xt was ~I-sost this Cir~..;?thst S~igyolil2t i~;1~~~~~nt

figures in the political r.aorld, For instance, it is believed that by 1153 Saigyz had visited Taira Tadarmri a,t his nwnsion. i This astuke warrior and polj-ticien gained wide control of

the provinces as well as strong inflcence in the court which later provided the basis for his son, ~iyorro~i'sbecorning I supreze in Japan. SaigyE vas irqrcssed by the Taira family

and his poems indicate a favorable attitude tovard the way of life created by then. I In 1155 and 1156 there were two deaths in the I~perial

family. The yomg emperor Konoe died in 1155. seigy5 visited

his toxb in the same year as his death. On the second day of the seventh month of 1155, the ex-eqleror Toba finally I succumbed. On the evening when the ex-eqeror I s body was re-

xovzd to the Mangyz to:;s-r or Anrah-ji, ~aigyzcam dosm from

14t. Kzya to attend the services and to chant sGtras throughout

I the nTgh-~. Af-f:?y thr --- d2rfh 0-2 11j,.r: fattrer Tn:?z-, pr;-r?; is?,?;*o? -- --

c Sutoku i7i.t-h i:h~ e..~cr,tl;:cl~::~i:2n.t- C: Fuj i ::zra Rorinagc?, dceid.26

to rr--sscr;nG the khi-~>Lii.;-, r'lI hr2 r-.?. g~ll * rig ::I lpt:ror art?-?favor;-tc

son of To>?, Gc Slo lrc,1-: - , (P. ~.1.5_5-L158),op20~3d the r~-.,?v~.

The f--.':e J- 2 f b .r L, 2 1- $2 t-L.-;c LC*.~f';~cL.i.o:~?> 8-C the S~LL:~:~~L:Y~

I)E!~PC,? r,.:?~.3 S$lt31 "'C f6,'::Z i "s.2 e:;C& 2"- is hl~~;,:iias the

*a IZogex I~SU'L'CCCti0:1, Sui:c,l;~, i:1-13~~SO.PC~~ ere d~fezted, w2s

exil.eG to Sanvkk pTcivirice OX-1 Sla~ili~_?;~Island, Before his de- parture, on the twzlfth day of the seventh mnth, Sukoku rt-

ceived the tcnzwc at the Kitz-in of the Ninna-ji. On that fi~oonl-tghtnight SaigyZ hurrizd to the terirple to express his

sympathy for him. After this meting, ~;ligyo"~end Sutoku sent poems to each other on three occasions before the cx-errperor

died in exile in Sanuki,

~ai~~z'slife was much affected by the tragedy of

Emperor Sutoku, his friend and fellow poet. His relationshi2

with Sutoku was Saigyz's main corlnecticn with the secula-

world. It is noted that after the emperor's death saigyi?

wrote more of nature and less of secul~rconcerns than pre- 22 vious ly . The emperor's docmfall after the ~?igenInsurrec-

tion and his death also broagilt abo~tths decline of the

Tokudalji family. In 1157 To',;udaiji Se~zeyoshiand his wife

22~cj5ioka,pp. 515-516. CT- 0. died... Saj-gya cz;i;;a ~13,sy:i~from ";ei:ipS_con $:i-,, l

r-? #. ~hc.~.l~~;i-~,<.~;;L<::$ v<':L2-c:!~;;,P,-,.-. <.: ~~~~-j-~~:~iri ddc~~,i~n~~ccil.~;8~.,'

r ,.., * *-- 3 ing the IIE::~: sat.:,: Q;,: >;,; .:P::.::C.J . .J 2; I,j,ge! 2,~s~1;i- ~~~~ylia,--~-e~

. a "a . F.7,. 2. , . 11-58 Sa::.gy,o ci-,j;>.- posed ~g"zsox-i tkiz ?_?~I..r;?-]-f Q: cnc (3f T~,~lr;~p-X-~~r,~-j_nlSf~r~h-3j:'

r3 la,dies-in-t;ai.ting, 1ed.y Kege of Ofic;i,ya 2t Skl:j.~yu. And on t32.2

' snowy fourfh day of the tw2lfth rr~onth, he agtended the rituzl for receiving the eshes of Rifuku-con-in, the wlfe of es;p2::3--

I Toba and the mothex of en-ipersr :

m 2 By 11.59 Saigys had attended the --n~-ash.kat:tsse ------or insect- 1 ' gathering coirpetitiori held at the castle of ~zchijo",a px:---:M-AL1 - 1 in the court of ezperor NijE (r. 1158--1165). During ll6C 1 I Saigyo.a again enjoyed tkie gaiety of court circles vh~enhe i 4 composed nine posms tlnder 2 nag? other than his own (becrv; i

of his insufficiectly high rs?nk) at the erqeror ~ij"u's-----hi<-:- % or sea-shell gathering conpetition.

In 1164, when he wzs forty-seven, Saigy5 exchanged

Q poem kith Jakraren oF Ohara la~ent-irlgthe decline of the world of poztry in the capital fo1loe:ing the death of Sutakt,

I Jakuzen, who had visited the exiled Sutcku in Sanc!:i, seer; 1 to have influenced szigy;, for it is at about this time that

6 Saigyo began to think aboct visiting ShiXnku Island on 7,"1c".- E1 En tlxc ni.ri:i; :conth sf 1165, SzlLgyo aticrlclo,d. e rri?"'~~l)i"- ial, servfc~2: i:"il.i i~;2~"-3.1 ~orlho~ tf~zfiftiei-h day after tfi.; dze-:h of -y; --Ju.;z c- Cdl1 th1 nS.S;? i 0; ti12 th5.i-:i:eerst%ih

05 th2C c~cc~kk+, 112 p: L: : t-3 th: lij.l::;i?;: \::~rrI ors i,iLc) hzc1 b2en iaz th3 s~;li~\~?<:-~22&FJ: -' . 1; :-2 eii:jc;l-or,

D~~riqz3.365 :-id 17-67 Sa".zYGf q:r">lic activi"irics as a poet \;l~~>ee-,tc~acive. e-----Ixhl-i-~L21e, in 11-62, ~l'terthe death of ansther of Taiken-*non-in' s former ladies -in-wai ting, In- no-.Nii-, SaLgyZ exchanged t6.n pozr,;s of de~plar.;mtatians with her daughter, In ~hznngon. He exchanged poerps as w211 with others who kcd kno5.m her, Frequentby de1,~ingthis ys~r,Sai,qpl participated in --ut3avase or poetry couipet-itj-ons held in

Tokiwa. These ~~~.petitionstook place izi the mansiozl of

Fujiwara Tanemari, who later as a priest took the narr,?

Jakmen (one of the Sanj;i!ctl). In this year SaigyB also begzn to exchange poens with F'uj ivaara ~hunzei' s cousin, Xorstaka.

In 1167 ~aigyo"attended an utaawase at Shunzci's mansion.

In order to assure the success of his trip to Shikoku

Island, on the tenth day of the tenth nm.tk of 1168, the fift; year old Saigyz visited the T~naoShrine of the Kaxo Shrines in Kyoto, He then proceeded to Shkko!cu throzgh Kojirn3, Wibi, and Shibu-ka12:a in the province oE Bizen. After crossing the

e arriving 2t iil Inland Sea 2-ad $latsuy~,i?a- Say Sanzlki, Szigyo wenl: to vic,di: ~u~aiit~',.: J Perk, Lnlpc;icS r-?LO:-:?,I. - We lat?z;t

vievzd the rcxl+.ij,ns of a -61:i~c:~t:of KGbU Daishi., or RBkzi, who

in the bzglnrli~~go? Lhz nirztia cert^ivl-y foutxdzd the Shini;:;on

* re $7 -I1 3 hut "l:~ere2rkC: r3ry~i112d~ Tid

~y~lf-iln-Jcsr c-!? yc, -- I T,'? --. QT I-?:: z:~tracn he bocrdgd 2 b02t

1. on th~l.::iz~t-a c~:":2

,r ~.!an~'oz23id Sh-i.o~i-:u'I BS;.:-ic pi:i:i~ki he lizd apparently

madc to visit Tos? pz~%,~i;rcsoli ShiB;o!tG 2nd Ky~~s11iaclicl not

materialize.

~aigyzagain produced a large nurz~ber of poems inspire

by his travel-s. And at about fhz saa-2 tiwe he composed the

Koi &,rtku_jushu or he Wvndred and Ten Lave Poc:ns 2nd ex------>- --&-=---.-, *--.-. -9 changed yoens with In ~h5r:agon. Retrt-ca-i.ng from a trip for

the performance of religious austerities, Saigy?? nade a piL-

grimage to Scaiaiyoshi Shrine on the second d2y of the sixth

month of 1171, the day afeer the ex-experor Go-Shirakawa had

visited the shrine,

During the sarce year Saigyc exchanged poems with a

court lady, Senshi, larenting the state of neglect into which

Sai-in had fallen since its desertion in the eighth month. Thr

general decline of the capitsl area is reflected by the fact

thqt this 2nd other buildings which saigyZ adnlred were per-

mitted to fall in ruins. A few years later, SaigyB urldertook

the dkrecti-on of the reco;lstrcction of this terrple, a process ------=~----"*--,=--=---%---.-"------. "------.- ~------

which yb2ilhbe &JSCISCC?Q~,,-LJ 3 &. beP~\:.?,

Ofi the eight2cnnCT.i ~.f th%i.r$montfr af 1192, Tai.ra

Kkyg.iiloi:J., ~o:;?at cii~hsj-~:i& of his pei.:z.,- irk cepj.t,sl,

. a.--* invited ihf~hf,~, ~,,~<:j~~;, 4'6 7-i r,i~trs G~.ther%n;;r,on 'ik1.e Eea::l-~,

of byeda in t:be p-, r#-,i;+.;?,.-,>22 $2 21.:;~~ E+;>t yc?:f;.rs 1:t.ker $<3,37t3ii~.;3r5"

v~ou3.d~:~~j-irr- tk-l;2 CCJ;~~:~t.~, tj2:; 32::~:1) ~f T,:'a,de: 20 escepe the 0~1-

coaiing >i:!~n;,ir;ot:~,

The pozt SaijZ dLed irz fil93,a,nd Jakuzcla azd SaigyZ

exchanged poeins aborris his dying mo~~ei-ltsand the dep~sit'Lng of his ashes. Dixing the next year, SaigyB bcgan tc ex-

changz poens with the poet-priest Jien of Mud5-ji on Mt. IIiei..

It also appears that in this year Szigy?? was i.nvolved in com- munications about poatry with Taira Tokitada, the brother- in-law of Kiyoii~ori. Saigy3 and Tokitzda escI~angedpoezs from

1169 to 1175.

During 1177, Saigy?? was busy with activities relating

to the temple of Kt. K8ye, On the fifteenth day of the third month, Saigyz sent a letter from the capital to Mt. Gya, re- porting on the progress of the petitioning of Kiycnori to exempt the priests of Mt. Ko"yya from conscription into a 12bor force constrwcting the sh-cine of Nichizzn JFnhE in Kishu.

Later saigp; devoted himself to direc tirig Ehe construction of ~engeij7-in or' Sai-in, which was completed on the ninLi day of the eleventh riontb of 1i77. Althctu.g'r~he was busy with ---I.---- -=-=-=-----l----.-_X-----.-.-II----_i.L --,-- --^il---_v-%" .-,--,--.-*------.--.iX. te~lpI~

co1Leetiolr. f Sc~~o~a~se$:;:ee ";:.st "ille pozrr.:s \i~hj,l-i j.ncl~d!~cS.in

37. the P0r2~1.z.j.:E

' " before Sa5.6-S's ps-i.2 to 1s~?;::~vj+rl~;:. In 1179 Saj-gy\;, ex-

ch,?r?ig:?d p0:fits wi.i:h lvii'jr;~'; I~CI 7rii)iil, 7 <,- * 3 sctrl of SU~O):L;, hcd

becaic2 a. pri,cst: orr ?.it. KG'ya, Later SaigyZ held a;n t?taa~;lese

with Ja-kuzea~and others in I,liys no ~8i.n'~cell in ~8ya-ji.

In the year 1180 with the occurrence of the Gernpei

War betwen the Taira and the i+inkmoto, SaigjG left PIC. K5ya

and moved to Futani no Yamadera Te5pl.e in the province of

Ise. After hearing of the trsrr:;fer of the csipital by Taira

Kiyomori to Fukuc~arain Settsu province on the second dsy of

the sixth ~onth,saigyZ was inspired to ttxite sever21 pocxs

relating to this event, He also contributed to a hundred-

po2m sequence in which the poet-priest Jakuren, the cousin

of Shunzei, urged him to participate. 23 In the folloi~ina

year Saigy?? engaged in correspondence concerning 2n iqerial

anthrslogy with the ex-ei~iperorTz.kakura (r. 1168-1180).

saigyb coqdosed a series of ~~~c~ with one of Taiken-man-in's

formr ladies in wzitizg, Hyo-e,0 just before her death in

23~cepoeni 89 for a reference t? this event. the ~2~9Lt~rl.I;x1 1182.

Besidcs 115 5 coxrt;ibLh p:?3i1Le in the cq-ital, 1f

In 11.8% thz or Ten Ulossoca Poax~.s was cenl- --*.,--.-,.* ~ -.-- -- - .%..-"--*...pz-=-,--

rm p0sr.d at 22 :.::k~;::c,:."&:l by Saigyo a~dthe -- py-i,- e ,.,* <- .s-* ~f the '87-1 " -*+r-.-,-, . :.I.:! 13.82 ilt t:he Isuzu River saigy?li with his rescni: appoint::z:lrt. es ari i.rrLger-.5.sl envoy, and tdio I acted as liason bett:zen the Ka~~akizrarnj-litary govcrr~mentEII~ the co~t,rtin Kyoto. I4ichi.chika1s appointmr-nt is an indica- I tion of the rising influence of the Minanoto following the I Taira retreat to the west.

The events of the Gc.;.~?ei ?Jar pro~~ldedstgbject matter for many of Saigy"oZspoems du7:ing this time, Saigyz was moved to coqose poems about the death in 1x84 of the Min2rnoto general, Yos'niriaka. Yoshinaka, betrsyed by EIinarnoto Yukiie, I tried to ally himszlf with the Taira, only to be slain by I the Plinarnoto forces. Saigy? also wrote poens about a mili- tary raft used to cross the Uji river during the battle of I B~Z~E-in.In 1185 he composed pcerns spon being informed of the death of the Taira generals, Kuncmcri and Kiyomune, after I the decisive defeat of their clzn at the battle of Dan no ura.

But perhaps the most profoand feelings which the Gempei war I of lect~=?.!:eson F~Z-L;!:;~: CQ;:_..~~>:~;'--:i+i.o;.: t-0 the prj.esi-:s of the Tse

shonin d2:nsh.sZ1 or SeL~~;tigc~02 Priest Salpvo's Lectures by ------<------,- ^--an r- us- ,*-A r a *" , ,* * .-, -- --.rrr-l-',- -:-----" -----ra a priest , Kitsvyoshi, who had beeoiLie SaigyZ's disciplz.

e Saigyo also exci~angecipoei.is b7i th the high priest U j j yssi~i,the

brother of P;its~yoslrai, zt Isc. Saigyz's reiatislaship with

I this Shinto center wrs more than poetic. The ~welfthcentury

saw the developiiient of Ry3~1._I._X__ -----Shi.nt5 or Dual Shi-nto, an at-

tempt to unite Shinto and Buddhism, parti-cularly encowaged

by Saigyz's Shir~gonsect. Several of ~aigy5'spoems deal

with this blending of beliefs, 25 I Just before his second trip to ~futsuprovince, Salgy?? called together several poets on the Bay of Futmi to corr;pose

poems. And he also sent a sprig of -.=-hamayu, a plant for which

I Ise province was fanous, and some ZTny shells, as a touching

remembrance to his friend Shunzen. ..------2k~eepoem 80.

25~eepoem 92 arid ;he acco.q?snyi-g footnote. r r.,o-, . .. r? At I-119 rcc:;i21c?r. g 01 rrJrttll-s2a 2-1. , S?.isy3 0nr.2 again u~~dertotsi:tk2 sx--ri.:iu.=\,~strip to Hir~f.~,umii-la dist-~~t

Pi~tsupro-!-i_l?ce to scz~-i*chf~r ~?lr>.\rj.a'l gold 3-12 "L~Enorth. Ln

c1 1 . . 11.86 S;ig;o, \,*icy-c.; 'i.;-i:.lr sj., ,y-c;lj.rl-iL. 'ct;,.~old, vrotc fare-

e- I r ~7213.pl"""?"? %;O P::" ilr'_G:ii!";" -' '3: ,I: C,,i-.JS ~~lc!CGIL",>OSC~ POST-7

t. )* 7; of farcy*211 21: ztl p:.,#2 k~3"~6:~~s of Ipc,

' F-: nurinc; this trl? LP r*iidi SI:! s;~:;>jo W~CJL~ SO:::^ of his n3st fpmous arid ao~vir~gpoer s. The e,:;jeleicr;ce of clir~?I>j.ng up the stecp pass at Ssyo n3 I.;b~kz;yai:,3as he had done ala~osf: forty years before, wss c-xh-ilzrating ~EcE~Y~I"thz basis of 26 one of his nost fa~~ousgoens, The wavering SYP?!:C rising from Fit. Fuji which he passed on his vay -ins~F.r~clhim tc

While on this trip SalgyGa ozce agai-nr r,lct the leading political figure of the day. On the fifteenth day of the eighth month Saigy6 arrived in Rsraalcura and. visited the Icad~ of the military govern~ent,Mina~oto Yoritc;~~. This Inci- dent is discussed in almost a11 histories of Japzn. Yaritomc asked Saigyz to lecture on poetry and military arts. A typi- cal account of this encounter is as foll.ocas: fioritorno

. . . was so struck by his venerable appearance that he

P ------26~eepoem 37.

27~eepoem 64. -- --- a- permar?er~tl_y. But Scigyo ?.$cJ-5.:-~d. On parti jr,gg the Mi~?.-?,c~rir>;oI chief gavc hl!n ~s z so~:?=uir, czt: chiselled in silvzy, .. I whj_ch j--2 old asc2::l.e: tr.:Ld !,.(I si::::h 1igh.i: estxz.rn that he be- I

he went to ~hzso:z-ji wl~erehe mzt r:andcr-ir~g priests froti? Narz, and wrote. poem with them aboue their far-off horce. I In the spring of the next year, 1187, having achieved the purpose of his trip, Saigyz returned frorn Mu-tsu. Be I then eorLapil.ed his Mirrros~so~a~~~a---- -..--.--.2-~-2.--3 U~LEJCI~ ~e a ------j ikaa~7esc or per-

sonal poetry coir;pefition, in e:hich hc selected the topic I for which he coxposed corresponding poems. With an appro- I I priate exchange, of poems, SaigyF asked S'n~mzsito criticize I his ef £ores. Shmzei's criticism of the Plir~ostlso~ava------utaexlase -

which was completed by the end of the year, has become an in- I portant docurnent in the study of the literary criticism of I the twelfth century. 29 In the s3r.e year Saigyb see about compiling another jikaaw~se,the f.liyakar.ga-- uta2e:ase. Vpon I I its conrpletion he asked ~hunzzi's son, Teika, to make ccmientsI

t :.\in-.: '?~,ober H . Brov;-.r and- Earl 3 --..-Japai12se --~----, Cocr t Poetry (Stanford, 196l), pp. 239-240. --.- -.---=--. ..-.------.----.--.A*" -,*--.-,--.dm >-m-..-,----.w-m--,' a,'---

&>out tI-~-j.swol:l:, Tcj.i<,s: sp~yitf$:o EEc2,rs prepar.i..r;g his cl:i.r_.isl-*.

ca cisrns for Saigyu.

poetry cil:cles in KyoLo, Saigys tb?n-C on to COin~0SPthe

,-'$ ,-'$ ~awabureutc? OT Poarris in Jest durir~gthe sari:l year. He sp2n-i: ------.----A------.----A- --* -..------this suxrner in the Saga district in ehe capital.

~ai.8~: received Teilca's critieisms on the Pli-;a- --- in where ----"-utaawase in 1239 at KFssn-ji tlze province of Kawzchi h-?-was staying during an illness. Saigq.5' sent a letter back to Teika expressing his delight at receiving ~eika's

cormqents, along with some of his o-m opinions about his works

In 1189 saigy5 compl.cted the final edition sf both the

P-som - -*--utaewase and the -i.Liydc?.ws ---- ut.aav;ase as well. as the selection for the ----Ihon sznkashz and Sankzshinr?I_usushu.d He had planned to take his works to the czpital this year bur was prevented by his sic'rcness. In 1190 on the sixteenth 6s.; of the secoild nai-ith sfiigy??died in Kcsen-ji at the age of 72.

Shunzei, Tcika, Jien, and Jakuren expressed their sorrow in poems,

The life of Saiggro-1 is syrriSoiic of the trai~~itl~ns - --"----(-*".------,~~-*.--" .-.------&." _1- -"I-LI"I-~i" .--.'.Y------. _ -,----l.-.ll.-=.,l .--- ." "_ rs7hich occhnx~-zd?.a 3.at;e 'i!.-l.a.n society. He e.;l;:~ of a mj_lttc?ry

1. fa.rni.1~(as c.:~cT~those t.jh~3 C~PCCto dol~iinateJapan ciurlrig the

but amhe esaji:2 @;,J?-;: kr2 ~t.1b..bs:;ir.r::. - ~fi:iif?"c",f:L~li13i.2i-th the EC!-S -. tocl:;?.i.,y 2s r,.j::].L 2.3 /I.J.~;.~t:"_i=: t.~:.; e;:;jcral"s, Toba ~.Il.~Si;tc-~lsu,

VJhile he d4su3,zb-j;;cd .y$-i*.i,.i.::-j:"t:..-. \':!Lp1!3~s.c, -. , foynaj pi--etry c-~i;pe-- -. Y . - tit;icIls, ~~j_~~ztir.2:' L:-.v-----..L~~-:~. I j0v z:>;-r~I:t j,.z5ij)i:~-c:ti0:a fox: his poetry 1 C.9 and his way of life ov,t:ri?.de t5:e capj.ta,,b-cente~c'ec!aristacrafi.~ society, and xithin the seckusion of nature. Althsug1-t he was critical of the artificiality characteristic of aristo- cratic poetry, Saigyt" longed for reco2niti.oi-i in the tsadi- tional poetry v~orld; thzt is, by being publi-shed in en im- perial anthology,

Thus, for a balanced view of saigy5 as an individual in the late Heian period, his involvcmznt both with the de- clining aristocratic order and with the forces of change must be fully considered. There has been and still is, however, a strong impulse to identify ~aigygtotally with the new order since his life and poetry suggest so much of the new expres- sions of the coxing ~edievalage, a period which began in the twelfth century and extended into the sixteenth century.

Heralding the beginning of this age is the fading image of the refined Weian courtier, with his ready repartee in conversation and in poctry exchanges, concomitant with a -.,-----.----- ~--A-=,> L,.=-e% '--" -.-----,--- ,-**--" ,-v--.m,--<-----z-----* P---,---. -- -.

foc~1ein.6on t1h.4 ::e.f3-h:~t-l,-~~?;."jt?~e %j.Vixlg j.1-i SQC~CLS~.~)~8s ;?n . ideal. T&-ii.ie SEX gyo- dci>onstra.'ec.s in. his poetry exchc?ngcs

that he gas ft-!;-.frc);rj inci:?pi.c~et,2yLtirk the ark o*" tki.s d:?f9.: rep4.y

the picbarre of i-l.i,:il 2.2; "p-'v.,:'..lG ,:-,:.e ~.j:Lzstj..s cer.t;:j_a].y Ic;Qy6;i

f azni-Ztar.

"fh2 j ei~;L-~~~~j.sf ~~5 a pee t -..p~iet , relate

to several fez,tu~csof Jz1;i3a?3zs:: po+cay, arid Japanese litera-

ture in general, w!xLch 'o..c;-e:-. i.nc.;.fi,*,,,ingl.y 9-- prevalent: dux+:-ng

this time. They indicate that thz capital. o;as nu lozger tile

sole source of inspiration and culture. Places outside the

capital becaae the locations of fictioaal md poetic episodes

and an elaborate dcve1op:nent in the use of place ~~TCO,Sin

literature occurred. The Buddhist te;rLple becaon the store-

house of culture. Poetry and fiction which spread. geogrsphi-

cally becam predominantly concerned with personal, intro-

spective themes, revealing e new philos~phicaldepth. This

depth is prlnariiy ascribed to a widespread accsptencs of th"

pessimistic aspects of Buddhist thought t.shich suited the

timas. The most characteristic pose taken by authors during

this medieval period was that of a priest surromdzd by

nature. Nature, not as it appeared in caltivated gardens,

but in the wilds, beca~?one of the nair? sources of inspira-

tion in the literat~reof the period,

B The Shinkokinsi-~u,which is rscogn5red as the cast than those 02 any otlmcr psek. Pcsem"sbooh~t un~ec~uicec!lev?, mcdit ativs auLIJ::,~::~ I:ozzng poe~n.stinged with Euatril-rs*j:- -7 7- * pessln%.sm

age rrcatc rclhoilbg the-16~12.ncs. Kzcs no c~F~R::F(1153-1215) told

about his experiences in this trying world before and after

e.01 his renunchation of the world in gcy-rj~,or -Account - --- of the-

Ten Foot Squere ~ut.~~Yoshida Kenko (12824350) in his ----. '------

Tsurezursusg,.-- or --Essys ---"----- in ~dlcniiss~~viewed the world froci

the point of view of an unattactaed psiesk. ~aigyz'sseek-

ing inspiration from the direct confrontation with nature brings to mind the outstanding -A?-renoa poet, Scgi, (1421-1502) who gathered poets in rustic surroz?~dingsto compose l~.renva

It recalls the haiku master Matsuo ash; (1644-1694) wha,

although he lived after this medieval period, visited places

saigy; mentioned in his poems and culti-vated the style of poetry which saigyThad perfected. -- -- 30~ranslatedin Danalc! Keene , --Ar tholos-- ___L*~L ------of Japxiese Lj ------erature fro~the-.-*-----~----- Earliest Era to Che 14ici-2:ineteent'n------Cer-tuz (Nev7 York, 19601, pp. 197-212. 31~ranslated in George 3. Sansozi, he Tsurezure Cusa Of Yoshlds no Kcnneycs:~S.; blin~tie ~~c~i,t.3rions 3f a recluse oi ,.u~;:ij.,C:r~ 25: i;s:;b.nl;.igl.ly a Aside frc:;~!the - so---.... 1. LES of ----.---.tqz.ka

33 r7 of tho period. 1hc-1 --m--s-m~2k2 is ail e.b:t.rcrr?zlj. dei~,ailcji~gform re- sulting from its brevity eld traditionally limi.ted vocabbixlary.

The ---w&a consists of only thirty-"OLEsyllables divided into five syllabic units oE 5, 7, 5, 7, 7.34 The vocabulary employed within the waka is basically derived f-orn the 2,000 words originally used in the first imperial anthology, the -~okjnsh'ii. Not only are these s~~orckslimited in nrxnber but in

32~aigy~wrote 2036 wzka and 10 -c-renpa i.:hich are extint

33~hech6ia or loilg verse was no longer practiced and the --haiku was of later development. Poets did cornpose in Chinese, but this belongs to ~nothertradition,

341t should be uaderstood that these syllabic units are not equivalent to a meaningful line oi pneery. Frequently waka-- are written in one line so that the syllabic divisions become apparent only ;?hen recd aioud. T$hile in romznizing waka- the practice is :o xske thase dFvisloxs clear, in trans- lating on2 need not produce five lioes of poetry. See Hirano li~eyo,"OD Translating Jzpr_l-?eseTanka Pcerqs ," -S tuJies-- in am--- th2 Humxiities: The Jo~lr~.?eL__l_--p.---_s__ll of the LiterarvII_Y__l__Y_____I_Y___Y Asscei_ation of Osrl-a- -- City LJniv;>sity, vol. i, Februzry 1951. tioa pi"e~.e;-j.ted'to tkir is"I--' la, sU!.jje~ts and mthod

O:c $-"f', '. "-\ . " -,- i: a";-." p ,.,.*? <:, <:, ci L. -1 ':ZL 1 .." -. %,& .c,ll. ii?. 2nd diei;zked by *"il. -..@r'' c?.s.t2.tkO1il ' .

tvelfth century, it was cai;..?icn to have topics iinpssed on the

poets by off?'.ci.al jud~;esat -.----*"vtab~~ase --.- for:~xlal, px~blicpoetry

coapetitions, and by the poet hi~nselfr.;hcn r7ritimg poenls in

sequznce based on i~taz~tsasc.moclels. 36 -- - --*- Saigyb transcends the impositions inherent in the w~ka

by poetic niastery. At tirnss, hove-;cr, ha strains the rigor-

ously traditional concept of the form by employing a broader

range of vocabulary and treatment of subjects than sonzschel-

I arly end aristocratic poets at the time thought proper. His I occasional use of a contemporary colloquialism was chided, and his philosophical depth seemed jarring in terms of the

usual decorous and superficial religious feelings expressed

35~bstrectChinese words are sirnilar to Latinisms in English. In general, Latini.sms h2ve been ~lvoidedin the transbati.ons in this essay. in -~>;.I:F,. --- - 11; I 3: of s t-~r,jrf 2-05 kj 5' urldzrs~~:?AIp; and zi.i:i%izarborr gtj: 'il-!~:t::!;a fz~:SLI~~IC.SSZC~ tk~t of stricter - -- -"A

9 * and more c~-jn-\;.::,1~:3i:~ ~11 g>0;3ks,

so-<,- r " "*' ~1;OF 5 z! ;,i'i> a ;:,> c, ts s i: I" LC; a$~to bc f foiu~d~c203~2

&he al<~-ie;.p -f air1 !3j]-;7>2 ~i $-ii :ti- the o*i$lth

j.~n~->c~i;.,JGS, p3FiCJ. 1Jilktik.z ~,I?ss~inperi.z.3 antii~ln- gies, its ~:a:ipiLil(Li~~~T:~S rr:ade;rtz'_-,ken by a celec% cozrnbtte~ consisti-ng oi the Lcinesl: poets of the period--F'uji~aara Teil.:a,

Fujiwara Ari $2, F'uj it~araleteka, the priest Jz.!;cmen, 3lina~~o";o

Michitorno, and Asu!:ei Flzsatsune . The entire project was closcly super-vised by one of Japen's most pccticelly gifted emperors, Go-Toba, who ordered the cs~a>ila?ionof the

~hinkokinshE-..-- in 1201. name, Shinkoliinsht or New Col- Irs ------..-- 9 lection of Ancient and Conter~~poraryTirc~.s, and its ette~pt to mingle contemporary and anclent pcrez~;, suggest that the editors of the eighth imprial anthology endeavored to emulate and perhaps even improve on the formidable first imperial anthology, Kokinshi_:, or Collection of Ancient and Contemporary

Times whose very greatness had inp2ed poetic innovation and growth for centuries. In the opinion of many Japanese, the

Shinlcor:frsh?' suececd.--d ir, tire attenpt-. 37 u-v-= Xaa-

---- l__-lS__.----

370iie of the ------~hi.~li

adqtxbie 20 and effcctiv? literary tyanslzrion are those

with an abi':.ridance sf natv.ral ip.r:agery. Pcter;::.s ~;7ritt~nfor ~p~f--

cific social occasion, such as a dezth in a family, poems

with extensive use of word-plzy inherent in the Japanese

language, and purely absC?-act poem t.~ith no concrete irnagcs

present the nost d%fficulties. These are therefore usually

the least sisc.s.essful in translation. It is obvious, how-

ever, that what is basic to any syr~ipathetictranslation is an

understanding and appreciation of the nature of the original

literary form and the ideas thzit are expressed within it.

Certain early translators of Japanese verse had neither, For

instance, MacCouley asserted that 'I. . . poetry is not, in

throughout the collection are coopiled in sequence by tech- niques of associatioz and progression. In fact this antholo- gy can be read fro3 begil-ininy; to end as a single long struc- tur2 divided into books. See Konishi Jin-ishi, trans, by Robert H. Brcsi7er arid Ead i~~i~er,11Assoelatioxx and Progression: Principles sf Integration in Ailtkologies azd Sequences of Japznese Court Poetry A, D. 900-1350 ," --Harvard Journal of Asiatic--- Studies,-- vol, 21, 1958, pp. 67-127, I_jl_L--*__..~----~-.--.----.- I%--3---YI,YYI.~,- -~---".il---=l.--.m.----LI-.L -I?-.- -

Japzns a %=G.-C-LL-*.. ,_,, chi:)$,'ir~f~81:. so:.-nd~j.ngai--j,d recoydizg tkre d>qeft s

of profoi~d~~pi:~:ii:t??~l ~I;C;TET~~~C:CS!' csn,d th& I I , . it is g-j_t..z;

over to s~c1.33.1 EsiLcj.,2~v;r~.ilgli-~ L:Q~~&R .khz lyric i~fi~u].s~.,838

Asto;~thov~ii;C tk;st: "s f.?n-i:.i;,::? \jlxir,l~ st3:i.k5-xtg?_y diut-j_ngutches

the Jqanas~p2st-j~; f:cO1:l t;ii!;: Ole 7.7"Fb.-aiua:*Lil c +-,- --.. nn-5j.s~~ is a, f739 ccrtz!ira lk!.c.l, of - -j. 112 3-r. tr c.*-:;-? 2 -,1, a.i.j..e?;~s CO reflect thej.r i'-;l~ibi-- lie!' i P,>~:.C;??.V~f:tl2 p~:~~~yin Japgnese

verse, tl~h~--;,ult rsas i~tth5i.r nz"ih.ljd; they trusecd in mere

form. They though& if the form of syklzbic phrase were trans.

planted fror11 one L2nguage into another, poetry v~suldnecessar.

ily be carried with it.'' 4 0 A far more reliable sastern pion-

eer in Japanese literature was Arthur Waley. His zpproaek

to the traxslation of J~~~LIcs~2nd Chinese poetry was all

together different. In his introduction to -----.-ii E~andred -.-----,-- and

Seventy Chinese Poem he tells us IfAoo-ve 7 all, considering

imagery to be the soul of poetry, I have avoided either add-

ing images of my own or suppressing those of the original. I I

FJaley also found the use of rhyme ". . . injured either the

vigour of one's language or the literalness of one's version.'

-- --- em------38~uotedin Taketoino Torao, ----.-----The "Tazka" in EngJish--- - with Pce.3~ from the li:e??vosh~~ Kwansei Translation Fifty I-----LI" >I in ---.------^-i-" ---.-- i^-"-""--.1.7 Gakuuin University P1t.1ic2.ti.o~ in the Cultural. Sciences, No. 1, January 1942, p. 5, 39~bid.,p. 5. %bid.,-- p. 6.

40~rthurValey, A Ruridred a,< Se~;cnt-~-- . ------Chinese Dogrrs-- (New York, 1919), pp. 33-34. In thz spj.-rj_r: of T?xL:.j 9 s ~(vLc~,Cine tx*:~:cl.ac5-~-isin ellis es- sejr cl..re ofL:~r.~r"lc?sli-td?~r,-.~-gi tra;-~slai:i_o;=i:~j4-i free verse, in wh-ich fh:. atLt~;,i:li:,~ b+?:rn ri:.-,J:: to expz-cs:: as r;?uc21 sir the

8. - texture of tl;~o pi $iili-,l, p?l',.;--:-cr rl ~O::GJ r~Jk. By t;lzy of in-

- * - t~~cly~tj~,ti:~ ti:\l "r ai-, j-s-j-;4s; cj,' y;,::~~of Scj-gyo, the f~ll.aijii-:? Q'?i:~.'!_e?e:: : >"I:- ".toy: c;" :; Ec;) l.c.2reseatslbt.v poc:..s is gj-ve.~~t3 ~r.rcwdVb3-cq:- - I;~:E prl‘zi'g ~.~z,:iyry ;,;* we]-1 3s to i].l~.-rs- trcle; sox2? of the dil Eicul,:iss of tx-~nnl.c*;ing y.1.,3.

Saigyo-1 s po~";rgr sho;.:s him to be zn exp2jr-t in descrlp- tive syri;bol.is~~,a style of col~posi~iorie:hich had slow1.y dc?v~aL- oped during che twelfth century. The folfcrr~j-ngpcem mitten

11On feelings expressed on the winter r~.oon after a rain" sug- gests his facility in this style.

Ogura yama Since the lezvcs of the trees Furnoto no sato nL Have fallen in e village Ki no ha chire ba At the foot of Ogura zountain Kozue ni har~ru Through Clze bare treetops Tsuki wo niru k~na I see the clear moon

The concrete iasges in this poem along with its subject vividly portray a clear, wintry night which seens to refresh the vietrer. Beneath this sensuous picture lie certain philo- sophical i.~plicakionstJhich are evoked by the elastic nature

of the ixnagis tic language. 11 1 -,T ~tzturaliz:gcryl is psrhaps the best term for this n,ztrphorical LET~~UI~C,since the poets write fro:n observation of nature arid in a centuries-old poztic ?.nd re li5i.o~~tuzdJCI; an 02 :=,!i~~r,r*l-3- 36, ~?1~4.;,iislcl:BudcihF~;;~, EX:~

2 T? 'Pas5.szn. rroix the r:&?ni ion of the place vane, Ogura n.233-

tain, end oi the c! t2z-t: n s~l~a,it Ls 1-i-keky Chat tf-13.~ poe1:t

I' 1 refers to ";-2.llli.x PIIL?.~ - -;! 1 .?L , O~L~~LS~~murittlin~ jusr T;c:s~:

e. S"* of X:yoi"o, rr.2.: e c LC -. FflJr.. C-:+ , i~ 'i~1-1 ,-.i-e:: LP Sz.Fgya ~~-Y-;CII.E

spen.2 tt102 cI~c,~LS a z~~.'tz;L,STla5,ke it hes a var-

ieLy cj-f cor~r~~i-sriciniz, tk:-- s7;_irn2, S?ni.Slz's fevorife i-nagc, is

frequently ei.:~loy~c~as a oydiol of 13t'~clc:histho:riedgfa and

enlightenar:..--.nt. Thus, ~IiiIethe inzgzs i.a this poem set a

strliking tableau arhd mood, they are to be ur;d?rstood wlchirr.

the conkext of Bucldhist experience. By thc very nature of

this idiom, it is impossible to give a precise or authorita-

tive interpretation of this poem. Several explmations couL6.

be suggested, however. For exaLn21e, a clear, wintry night

may be a symbolic representation of the way one fee1.s upon

experisncing a Buddhist awakening. Or it could m?an that

in winter when existence is in its barest form, the cycle of

life becones most poignantly clear, so that through the per-

ception of the dreariness of life (through the bare trees)

one understands the ultimate profundities of Buddhist wisdom

(sees the moon), ------

42~arlMiner, "The Techl~iqueof Japrnese Poetry, t t Hudson Rev?-, vol. 8, no, 3, p. 353, . . e ~fJaaac;~a~~s~~~ic~.r~'saJ skill in eirploying the ~22;s~

It is on1.y :~:leii r>-.ly :r?;:g-:..n~s Ere cc.,y~rssedinko ;-;lo 6::;; pr,s 2. sirL$~~;:3T-i' \?'!&::%<~ .-& I of fclc.3 5vg e:.;-- hacs~ec! yet ~:3texyret.si.d2 $Inn ail i-nsem :yor!d hovers in pn strc2sphcrc, of the pocrc, :glen fhe %can and co~~zonare used to express the elegant, when a poetic conception of rere beeuty is dnvelopcd to the Zi~lfestextent in 2 style of surface s-i-r!?pl.icLty-- only then, :?lien the conception is maltef to the hi.ghest degree and 'the words are too fa;, '!jib will the poem, by expressing one's feelj-ngs in this way have the paver of rk:oving Xeavcn end Earth with- in the brlcf con~l-~~.,c'T-~q oE a czre thirty-one sylla- bles, and be capable of softening tiye hearts of gods and demons .45

~aigyo"can also approach a poem in totally differ- ent mcmner; that is, by direct, declarative staterrent. In- stead of relying on imagery, this style of conposition calls for the subtle and concise wording of the statement. At

43~rorna portion translated in Brorier and Miner, p, 264.

440riginally an adverse criticisri i;sde by Ri no Tsuriyulci oE Ari:~arn Sai-ihira' s p32 try.

h5~heseare zcong the ?eats which Ki no Tsurayuki, i his Preface to The ~nkinsz,clai~zd Jepanese poetry could accoi~plishat its best. effecki.ve vc?rs2 2s the follo$rj.r.i;; poau cozlcerniizg t11e after-

t 9 --*-shiru 1 to ka057,'' prot'idet. parkicu?c'..r poefi-c iraterest. Jap-

anesc critics suggest that the renson ~aig~Fcomposed this

poem, shortly after he bec2.;i-., a priest, was to use a kind of

poetic logic to free himself from t~isattacfz.;t-znts in the

secular worl3. It should he pointed out that this is a pocn

whick~might salve the woitnlds of any t~nha.ppylover.

By combining both direct statenent zsrd vivid imasery

saigyZ achieved some of his greatest poetry.

Kokors nzki Even to a person PIi ni rno aware wo Without eXotion Shir areker i This sadness would be known-- Shigi tatsu sawa no A snipe starts in a marsh Aki no yEgure On an evening in autumn

The contrast between the first three lines and the 1st two

is striking indeed. Beside the disparity in poetic modes

the syntactical break is em?I~~-sizedby the use of the con-

clusive ending, ker;"3" Y in the verb of the third line. The

1 first part of the poem is a direct, declarative statensnt; -~'----x------"-=.---*.-sA.<- a.-~.~-~-A.-~~.x'w,z ". :----,-.am .,--*, k%~.s~."'a &... - * ..*" ,-,sma-,L..-. ,- .**..*--..,- ~ ,.s--.---*,e-- ~-,,-.-.,= ..- the szcal.:'i a \~i-~idplr:t~,yy-. of a, x;ac:.l;rei sc.ii-re e-.-vr7r-eAp.k- c- o .., E a' XYJ.' I

. . ti-. but, in tht2 i:c);rl7:: 0% o1-1~CS'~.~:LC, ~.ii-ac"r-~bye hzve is a kind of

agery, for full appr~ciationcertuin evpressions per se skouldl I be noted. "Even to a person wit'rrnui: c~.~otion"(koI.;oro------~-.--- natcj nzi --ni xi~)- ~cost likely refers to a priest whose goal is to rid himself of erilotional involvciaent ~ithlife. The poem is ef- I fective as a general statcm..n& bbul the "Lfaerz of this poem is surely one of saigyE1s favorite--the con£ lict betw~znreli- i gious ideals and hui~anfcel.bngs. This them bbeca~~much mre

comnon in n~edi.evailiterstirre , The poet ' s deep esthetic sensitivity to the world arou~dhim keeps him attzched to it. I The enotion he experiences in this poem is described in

Japanese as --J a~zrean expression which has a wide variety of I meanings. It has been translated as Ifsadnzss" but its var-

ious maniags includz psthetic, roving, berxtiful, and it is

similar to --lacrimae rerm--. or thz pity of thi~gs.47 ---Ataare ------I- oni is hi, p. 121. 47~vanWorris, ----The rtTorlP------of the Shirlino--.- ----.----. Prince: Court Life 5~~u2n(Nw ----. in-...--- Azcient York, 19Si), p, 311. I takes or.1 an cs~:zcj,.al].yalsleucl.iob tcin? -j_:-i t1li.s pocra bccat~se

e.* of the zzncj-;_on of "evi2rr.'-:-=.6:.-I 9 .i-rl ailk:iz;::~t'' (&j. no yu<:;~:i-.e), Even- -.-*.,. ,--,, *---- -=..- !"? ----> ~-

ing ~XI a.$:tv::r::i p.-ovbd,es. the bsei;gs:.oi-nd of rn2.n~ sf the poap:ls

Saigyo-1 s poeciis rre not always concerned with such in-

tense eszhc~icexperiences, In fsct they czxi be light z:nd

Oyamada no By the sound of deer cryirig 10 cf-1il;aku na"i.1 Sear my hut Shika no ne ni In a spa11 ~~o~:~,kainfield Odorokasarete Startled ar~z..h:c, Odorokasu kana I startled then

The poem suggests a scene in which ~aigycis awskened in his hut by the deer outside; disg~ut7tled,he chases them avay.

The use of the causative -pzssive and causakive -active of

the verb odoro!cg, "to surprise or startle," denonstrates an

effective utilization of the medium.

saigyT1s travels provided inspi.rai;i-onfor many of his

poear;s. In them one frequz-ntly finds the r-ention of place

nanes, This practice sf recording plsce na?,2s is seen in the

earliest Japmese poetry, It becam?, howevzr, increasingly ------*------ax"-* =s * - %- r -= -- * h=L ~------"*- -= "=

cUroLi3oil in the tv;zlf t11 ant? s-~~zcccGins cc,rturi.es as yoz ts beg; a

to wandx th-eugho~~tthe csv~try. r'v.tm resul king fzrnilizrity

with these pEnc2 niiircle on Lk,e pnrt of pc>et.ry readc-c-s enabl-ed

thc poet to i:7~:0!::: th:: s~.iL-- - ,j.; LIE 9. pl;ce by 1~2re7.yrcentio~l-

ing its n2Lg3c. 2T 3 or 1-I~ ,- , t7--3 r~pp2er21i~i301 tli12 Yoc~~;~~-IIo

1. - * hills i-n a pszi.1 jc --cl.ir*:??y ~::1.115~1 FOYII.~V~S~OL:~ 05 ch2rry

bl.oss~11.sE$er ~csc it t:?s cr, s~.,i.trvll'l. t~i~ci:.nfox= chcxry bloset,r!

viewii-~g, And >It, FLI~i's mzjestie beauty arid connzct ions with

Shinto ~qthologyirrspired awe in poetry readcrs. One of

~aig~z'smost famous poems :las coni,;osed v?:-ien he was travel-

ling in Tohoh or the eestern region of Japan on his way to

FIutsu province.

Toshi takete Did I think I would Mata koyubeshi to Pass this way again 0n;oiki ya When I was 01-d? Xnochi. narikeri What a long fire I have livzd- Sayo no Nakayma Nakayarna of the Night

In order for the reader to be fully respsxtsive to this poem

it is necessary to h0~7thzt Nakaym1a of the Night is a

steep mountain pass cd~ichwas frequently ~entionedin classi-

cal poetry. Nakayama which mnans t 1 In the mountains" Is a

cormon place name. It wa.s customary to further define such

places with a descriptive tcri-il like Nigl?t. Vhen o.ne envis-

ions ax old =an trudging up this pass as he had done many

years before it is understandable that his past Life would ha

I

I appezred before his eyes. ted j-n tha follcxEng po2m by the ~.napl~yi:,eri"ilofg~~g oc aaso-

AC~OSS L;zL.!~~. Al?d skla,kL3g off rLhc 7- flor,.;:L.=igv~cI-~~cI 50:: afiotber place 177 flna-2 5.:j$-P>. b:.cari:<2 of -,-LI:~ - TioX As T go ringing a bell?

province. Suz~~.l:ais also a part of a series of cngo, asso-

ciation vrords, which have been described as 11 . wards

risirrg froi11 the sarne concept, occiapying a positi.on sonswhere I between our similes and metaphors zlnd the products of free association in modern verse. ,148 Suzvka literally r-i-zens

Bell Deer. The Bell of this naxe is related to the verbs

-furisutete -- and -nar-i. - Firus~~J~temezns "to shake off" or "to abandon, It and in this context leaving the secular world I (the ftoating world) to become a priest. wk, hox*:ever, is the verb com~~onlycon~ected with the action of shaking a bell

I I Nariyuki, "to become of a person, contains the verb 9nasi

rtto ring [a bell]. " Thus errhedded in the rich text~reof

this poem is the cogeept of "bell shakes 2nd rings." This I action refers to the fact thae a Brddhist pilgrin rings a

48~ennethRexroth, -----One H~nd-redPoems------fro:? the (N~T?l'ork, 1959) , pp , xvi-:i'i7ix. this pas. Tiac pa-2,~I;r-,cjs cjcl:: of ti12 e~piicctlarea i.nto a more? ltuncivi~5_zcdregictzi iri Ts~. r-'Inerefore in translation

Suzi-~kais left jra. Japauesc, To mskc exp1i.ci.t ~7:?c?tthe engo

suggest, the phrase "rizzgi-mg a bell" has been addnd, To

see the po2m as a whole, then, it concerrts a young priest's

thoughts as he goes on a pibgrirneac, , leaving the fan5.lbar

capital. and entering in- a auriknor\?rt regloi~. The si.tuatio:~ reflects his own wondermeizt aboclt v212t his life as a pziest will bring for him.

Love, and parLicuiarly unrequited love, provides th2

topic of several of Saigyz's ~~osteloquent poem, The fol-

lowing poem employs another technique of word play called

Omoishiru If rhere wcre soaeone Hito ariske no In this wmld who understood c Yo nariseba Nad in the da::ming Tsukisezu ~i wo ba I should not feel such endlcs~ Uranizar~rnashi grief At the xoon lingering in the sky . 1' 4 0-7r i 'Xkli., d2~22l-ys ~;:vct~~i-e:d SU-. :;IC~ u-c LhLs 1~:~21!1~r- ~,,LL, -d by kji~

1356 of tlfa~"~~-',GY' -.. ----= -2J-9~~b2 m A --- - oth~i:PVOC:~C~G te=;o;:ds, grc~t1.y rai:zify ti12 ixli~l.J_czi-!oiiso.? the ~DLTI. It is ir.?ossible to give 2 bilte:r"~! 'LL: *a::liltj * i ~f E:;?: p-;?i~?, Rer-~lcril~g it

*. - port3.c: Cagli-!a ~-!iir i.1 i : r-'~J:;": -x-ii c}.: syi~i~z,~<

sior: 01 snhrra,

The settirig of tk5 puczl As tho tin:rra of ariake. Tt31i.le --* -.- this tcr~has been translated as 11 da;;rii~ig," it refers to a narc SIPBG~~~Ctin? than is norslsally recognized in English.

Ariakc is t'ila.is poetic tlr~of d;y ~~hcn,:chile the sun is just rising, the moon skill. lingers in the sky. It [alas a tirs~ when court lovers had to part in order to avL)ld. coxxitting the indiscretion of being observed, It was also the tire when, separated, they began to rcuse abou"it5lei.r night togeche

By the msntion of ari ake iil this porn, saigy?? evokes this traditional connotation, contresting it with his reactions to this time of day, which excites his empty locgings. While the mention of ---ariake suggests these rich asso- ciations, it also acrs as a --___--_,)kakzl~otoba a pi.vot-~~mrdor SOPI?- times just a pun. The technique of the ----kakekatoba 11 . . . is to engloy a single s2orcl in a pivotal posit50n '4et:~ecn txo clauses, in such a way that it is construed in two different ---*,-.- .----. -- w...s>--L *A. - .:,:,,+--.As" *-.-,, -.-.:.,.- --~ ---,,-... =*%% "" ------"------*- -- .>.-- selases the Isi.voj-- .-I.;.-*>,i,i], j:klt",6 &,c.~sEE;~ i3. er,gs-r.rqr flfmgz, shift- ing i.n seizse, and. by this shif.is, Ii-nking two 3-nages. . . ,

This te~c'rznjr~i~er72: fz.silL'i,ec~d, c.2 course, by the psucity of so~11.2~:j,rt 3~:,nsr,,: ?,.id I_:,: cs,7;.c;j~,..-ntvark~ty ;YE ~OIC~;*~~I~:S~1149 yhus , :;r-,j 3 r 2i..I.$ . 1.--- - Lrz -.t,- . .- . J..' FI Z hzrl: ij-r \i332~7*3- r?eni~-lg~in --*.-- =*

* - this yoez,~5.2 ;21.%1-. CCI -"6citp t;) 2 - -"~ilJ-miig -;!r;. --- litO hi> " the v~rh

I I to ~5ricl-rLjid subj~:"i:~..i~.?!:;ll.j_~t~ - .-".- :-ii-Cci,7- -- SC>IZCOL~1d-10 -and~r~tr?rid~

Re,I I is aktaclled..

It The next -kske!.:otcs'i~awe------i.s "yo, a hooct,iyrii for bath i.;or.Ld and ni-ght. This hiakekotoba--.- ~----- hoxlever, is no"ztrsed as a pivot between two clauses and functions more as a simple pun.

"Night./v:orld" serrns to refer both to the world of lovers and to the poeefs glooay state of rzincl. This pun on "yo" was carionplace in classical poetry end does noc particularly add new dimension to the poem. "3igk1c" servzs snerely to eqha- size the overall meaning of the poem and the deletion of this word in translation does not man its irr.?lications cannot be suggested in other parts of the translation.

The final kakekotoba in this poem is tsukisezu.

Tsukisazu is the negative form of the verb tsukiru, 18 to end," and has bezn translated as 2n adjective "endless." The first

part of the ralord, --Jtsuki mans moon and refers to the moan

4g~eo~frey3o;m-s and Anthoay Th:iai',, The Pes~& book 02- J3a~neseVerse -- (BaPticor~,19641, p. Iv. This p3cr:n cl.ee:cly illustraires Sa:~_f;yo* s virtuosity

utilized a centuries-old idlocn to create an individual and fresh poetic expression, reflecting his understanding of the merits and li-mitations of the old rn~dzsend the need for new ones. Frorn the lives of mzn like Saigy?? tho comprs2lenS their changing worlds, there emnates the spirit of modernity, however unlike the conditions of their tirms are to the pre- sent. And when such a nan is a master poet, his poetry con- I i municates to any age, 2 (27) blrilten as e spring poeln

Furitsur~ishi Snow piled up Takzne no mi yuki Or1 the high peaks Tokenikcri Has mel-tcd-- Kiycl t akiz,~r.~a no In the Xiver K.j-ji3tak.i 4 Nizu no s:-iira-~a~::F tLTfij.te t7a-ircs on ?u:ce i~sters

ljprine Pozms is the title of the first book of the ------Shinkokinshu. Titles are given for erch of thz books. '?his nui~belprefers to the n~~t%h,~r05 this panx in

3~opicsfor each poez in translation are gi~~enas they appzar in the -----Shinkoki-rrshr. In the case of this poer the topic is given as unhom.

4~iverKiyotaki--this rivcr, after flowing through the rriountainous area north of Kyoto, passes into the ciry. Kiyotakigawa rcezns ItRiver of Pure WaterZa'lLs, I I suggssting the transpc?rency of the water and the fat-t splashes do:m £run the ~ountains. 6 Yos'n-jiicl yt .%> 0:1 tits Yor:li i c,a hills Sz's..:12:~ ~a ee;! ni Snow f ~2.l5.n~ Yuki ci1irice7 Upo~the kr :\_~chesoE el-lcrry Wana osoge naru trees Toshi ni rrio aru kzna It stems 2-13 tiits year The chtlrzjr blssso~~swill be late

%iy indif ference--Cor~,21itar-esdif ier on vkiether Saigyz is referring to his eitn iricl5fEercnce or the negli- ger~ceof SOIL~~ORCelse, Plihe corri~rernt-cryj.n the Ivranami editi~ii of the -Skinkokinshu------# asserts thzi he norrilally does not wz-it to be disturbed by pzo2le but tk Slosso~~ssoften his h~art. In his extens ive Shin:sk&&-Fs IyZj>-s& Kubota Utsubo suggests however, that the pea refers zo ti;? ne~iigeiiceof sezeone else. Wbota indicates thac this poem was attached to a letter to a friend whom Saigyo is accusing of erqloying de- ference as an excuse for not visiting hin, Kubota claims the poem was slritten therefore as a rebuke to this friend. Using this interpretation, the Last tvs Lines may bz trans- lated as "Your negligerice should be saver?/ For saxe other occasion. I1

6~oshinohills--Southeast of present-day Osaka, Yoshino is associated with cherry blosson-viev7ing in classi- cal poetry.

7 'chirite- c his varb is an engo ussd in relaticaship -m.&z*-- * -- -*=-- with both the fallizg cf ~no-;iand the falling of cherry blossoni7s. Since the ci-ierry "blec f l=rb;ers early in spring, therr:i 1 is often poetic adxixture of ths perc6l;tl~nof w:iFCe snow 1 and the white blossoms in classiczl poetry. On the Yosbino 'ni.l.:is Chz:-kgir;g ciy route raarlced with year's broken branches 1 t.sill visj-t chex:r.y bl.ossoms In a direction ycg unseen

Brooding over them I became so decply attached To the cherry blossoms That their sc~tte;:ing, our parting, Deeply sadden my hear@

7 (217) Topic u~knor,m

Kikazu tomo Though I hear nothing, Koko we se ni sen Here I shall make my listening Hototogisu - place Yamzda no hara no For the &o-~~~i.~JL~ Sugi no nuradachi Here, by the cedsr groves In the plain of ~anada9

-hot^-^-- --This bird, ~~~;..-.;;hatsinilar to a warbler, appears In tne carly surnmzr so it is of ten used in classical poetry to herald the beginning of this season, The bird also is related to Buddhism since its nam and its smg- resembles th2 phrase "HZo kikc," CT i is fen to the L2rl7 of Buddha." Given ~aigyz's Eud&2ist background and the subtle expansivezcss of his style, most Likely there is a Buddhist ripple of implication in this poet.

9~a~xada--~hisis a pl~sein Ise province, home of the Ise shrlne. The ho32otsa5-su Was e!~!z:rg2d Fron the deep pfnks10 Wi.s song cc;:.:?s f.zl.?.j-ng down l.'o the fooi: of the nearby hi-lls10

3iicIli 113 b.2 ni At the sidc of th3 rosd Shinizu negeum:u The r-~klloc~~'sshr,ie Yanagi kq2 Wherc cl car c+jatcr flocss ShiLeshi to tc koso Thi~~!:ir~g"J~;st for r et!hitel' Tachicloxaritscre I stayed on

10 (263) Topic ~nl,mor-rn

Yorarztsuru The parched grasses Noniosr no kusa no Choki.tig the fields Kageroi. te Are shadzd oTbrcr Suzushiku kumoru Coolly clcudcd Ycdachi no sora Rain-threatening-sky

10 Deep peaks (fukalti---- -mifie) and ne~rbyhills (toy_=i~na)------Topogr~.phi_callythese terns are sirnif.lzr to ~i~olmtainsand foot hills and in early surrzer the i;t.z-bier Eon2.s dotI~nfrom the mountains. The poetlc implicati~nsof these terr!s are that they mark off a relative distzr~cefrom civili.zati.cn. The dee peaks are where a Buddhist priest like SzigyZ woeald go to get away from society and to contezplate. :~;fnethsr this poein is purely descriptive of nature cr a subtle Buddhist poem by implication is not clear. Ha~'7ever, the conception of "deep peaks, 11 I believe, Is peculiarly Japanese and an important image in ~aig~z'spoetry. Aware ika ni Just imzglne how Ktlsaba no tst~yuno The dsw on those leaves of gr~cI Koboruxan Piust be spill-ing over; Akikaze techinu Here the autvrr? wind rises u.? Niyagi~ono hara And I thjnk or' the vide field:. of Fiiyagi.=io.13- 13 (362) Topic unkaowa I Kokoro naki Even to a person mi no axare wa Without en3r ?-on12 Shirarekeri This szdness w~uldbe knoxn-- Shi-gi tatsu sawa no A snipe starts in a marsh Aki no yzgure On an evening in auruIci;l I

lll.iiyagino - -1n terns of con ts:!iporary geogrephy , Niyagino is a field easr of Sendai in 2v;iyagi prefecture. poem refers to one among the Eastern Poems (Azur~a---- -u~a) in KokinshT-- by arr unhloi.m author: "2iisaburai mikasa to mzse miyagino no ko no shita tsuyu wa asr,e ni zasareri, I I vhieh coul c'j be trartslatecl as, "Attenda~t,tell your mister to take his rain hat. The dew falling frcm i;hc trees at ?l:iyq,ino is heavier than raan.. I1 Thus, since the ecrum winds begin to blow in the capital Saigyo thinks of i\iiyag-iraa in the north where now the dew must spill over as thhck as rain. I f 12~vento a parsor. vi~kcuterzotion--i.lcst likely this 1 C t me2ns 3 BcdCjhist priest as Sil$.~yc:JZS. tior;esier, as a more gener2.l staterxn2 it is also effzcti.vs. i IMis .c~::cl.ear If therc ri_s a reason :.;?i-iy In av.t 12;-171 Th-j-?.~gsare so Irresis~abi~sad

I

Oy~.~::~.dano By so:,lilt?. of deer cj~yj-l~g 10 clr:i.l:ce!;g. nal-,~ pJ<,"C r,-..k. 7- ,--".ii.jf ?LE~ In i; - S'i-?i.l.;a no ne ni iiLc:ii. vio~!.r'iaiil field Odorclczs ?.:'eta S.t;:rll.~.d a:,?a'l.,e Odorokasu kana I startled thsm

16 (472) Topic L?E',:IOT.~~I

Kirigirisu The cricket--- Yosamu ni aki no In the night cold Naru maria nl As zutuc~ndr3':~ on Yo??eru %a koe no Does he r,.i&.akrr:? Tgzalcari yuku His voice grows ever more fain

17 (531) Topic unk~?om

Yokoguno no Flying over the ~71~untaj-ns Kaze ni wekaruru In the dzvm s1z.y Shinonome ni Where a Saak of clouds Yama tobikoyuru Is blown apart by the wind-- Hatsukari no koe The cry of the first wild geesE

18 (502) Topic unho:m

Shir~kumocis Tsubass ni kakete With the 7;'ni.te ciouds Yuku kari no The depzrting geese Kadota zo one no x!esrningly cry to their friends, To:co shitau narc Cpo~the fields befox-e the gat2,1 I 19 (538) Topic ~~r~kno~rrm.

The lsavzs oE ---.nzsa -- vines Which cre:sp within the pines Have fallen; In the z,s.::umn of the nearby hilzLs How wi.3.d tile wind must be blor??;ig I

Tsuki vro mat~il I wait fox the moon: Takane no ki~nlo \:a The clou3s ovcr the high peak Harcnikeri Have clep-red; Koko-!:o ar~rh2 ki The early wixzter drizzle Hatsushigure k~na Piust undc.rstand my feelings

21 (585) Topic unkno~m

Akishino ya It must be raining Toyana no sato ya In the village near thz moun- I Shigururan tains Ikoma no take ni At Akishino ; Kumo no kskareru Clouds hang On the peal: of 1konal3

22 (603) Feelir~gsexpressed oil. the winter noon after a rain

Ogura yaga Since the leaves of the trees Fumsto no sato ni Have fallen in a village Ko no ha chireba At the foot of Ogura mountain Kozue ni haruru Through the bare treetops Tsuki wo niru kana I see the clear moon

I 13~eakof Ikoma--It is located Setween Narz and 0saka.I 140gura nountain--Tkis nou~tainis near Kyoto and is I I rr the site of the Buddkist tczple where Saigyo first received I his priestly traini~g. Thus, while ths porn is dsseriptive of the natural surroundings, Ogura aoiirltain and the xoon, the symbol of Euddlia and enligilte~r-c-nt,Lnv.;.ke a religious ~?anicc,,- Tsrl no kil.1~5-rzo Spring at Naniwa-15 Narii.csrz: 1?,9 >::i-ctj. In the pro-cincts of Tsu-=-- - y tj"j;;.lr: .-L~.L!.L- - $3- Ys FJ2.s it a dream? bxs115- L.;z2;t2b;; j.15,. The ~~2ndblo5qs ;)cross

KZ-ZE; p;g2cz-i Lli-c.y< -- .-&. -- 7-7L~C reed.'s withzrsd leav2s

Sa?:isl::E.s~ i:i I F;izl-l there WS~,? ~o~p,-~nee1.s 2 'l'aetarg. fl~.t~4 * 2.2 rwao I7 eould bare this Lbrzelir?ess icir-l.ka I~:.oare ~12. I w~uldtuiJ-d my hut by his Iori narabcn In this wi~'~tryr~10u.nta3-n vi2lag, Fuyu no yan~azato

25 (691) Sent to a person at the end of the yezr

OnozuEiara Though I h8ve not Iwanu wo shitau Invited ;rLyone, I have wondere Kito ya aru to Will anyo~ievisit ne? Yasurau hodo ni And as 1 wait, uncertein, Toshi no kp.renuru The year has reached its ciocc

26 (697) Top-kc unk?%i,o\m

Piukashi amu I think of the prst Niwa ni ukigi wo As I thouchtfuliy pile up Tsvrriiokite ~riftwoodP6in the yard, Nishi yo ni mo ninu This year's end does not re- Toshi no kure kana semble The world I used to know

''~aniwa- a his town existed on :be site of prcsent- day Osaka.

I6~riftwaod--~riftt.~cod is e Buddhist symbol represent ing Buddllist teachings, in parti.cuf ar tkase of the Lokus sutra. This sy~~~bolor2ginat.t~~ Erox a tale corlcernlng 2 turtle who had an eye only on his stocsch, He was unable to see the noon alld the sun, syr21ol.s of eri!ig!ltrr;nent and Buddl~F~tteachings, until, clinging to 2- ?iece of drif '~uo~d KucbLi m2 seriu ll-:e Irasj lcfr TC)ekiinC: Sorlo ria balr;:.rj. ~js Only hi. 3 nar:e r, 1 odg:c;zokite The"-d~ ~111never die

K-weno no s:xsu!;i The pc?~?lp;+sgr2-ss in the ---'"-,"--?-i?~LL&L& e Katemi ni za miru ff e3.6 Seems a keepsalce of the 11'ia.a in the c.?ai:er, hca was ove~"L~rilcdby t~zve. In the sa;;;E: n.ril- mer, when one clings to the Lot~ssmtl-G the rgay to enlight- enrilent is opci~ed. In J~pan,the end of the vear is a t-ir.:~of rernFniscirig abcj~~tthe past znd of collectin:, rlrc,-* waod for the cold zlonths ahead, In this POQiii, Saigyo cor:?ares 7.nl-s present life as a priest with his former secular life: in the past he gathered fire:.;lcsod ~:a-i.ryinabout tile f~turecolds whereas now, "itli~an ease of mind, he tt:oughtL-ully piles up (literally, "piles cp for future use") 8~ddhi.s~knowledge and practice for his evr?ntual enlig';itenr-znt 2nd salvation.

"'The provirice of 1,iichi--This is a:lother nene for Mutsu province.

18~anekata--iie was a Fujii+~aracourt poet who, upon having an argumeilt t-jit'n Fujiwara Szei at court, was exiled in 998 tc ?dutsu where he soon died, Are rz?a ts spe1id chef-i- d..ays, Not i:-ilc?:Jirig; v:ci "i:: 1 gx,?nt, 80 CO~IS~_~:~:Tthe future, T,.Jhcn- ~.,znorai-itof t1.12 IJOT!.~, to C~TI~I??

. . . -. 29 (837) S::11c tq S'JGL;~~~~I~krL;-s-,;l-;:i;;- sV:2x* 2 deZ.'--.L.l:~ i.11 the iZaL?l.ly

Wp~i-~c^,irly the. -ft-si..,.~ -?'err$DL"c?:%r32 .- Of hi.m f;hc, ~C:Sdcpil.::.gecj T,ef t. w3.1-.ii. y~lc: eox.7 YO LI t: 10~1g For the mzn hfnsel?

30 (838) Tji'ritteil becanse s~i~zersnewas angry that I had not peid a conr7oi.ence call to him v;hcn he was 61ief stricken.

Awzr e t arm2 I could haw visired you Kokoro ni onou If my feelings of grief Hodo bakari In my he~l-.:: Iwarenubeku wa Were suck Toi koso wa sena That they could 5e expressed

31 (855) Given as a psrting present to solxeone going dcm to Xichi province.

Kimi inaba When you have gone Tsuki niatsu to te mo Even when I wait for the aocn Nagzme y aran rise Azuna no kata no I shall gaze far off ~Egureno sora Towards the evening sky In the Ezst

2- 2- ' iethis poen o:! LLI~silrface has a sceptical ton2 it is tinged with a feeling of deep pzrstL?al lazent and Eor that reason has been placed in thke section 311. Poem of Grief. Tanor~~!.jer~i~,;:m. 1'11 I)TOI.;~L~QLO retu~n -7. . p,rl;:l. rr1:5 ko!;o:t~yz Kno:?ing t701.;j TL:'~-hi"i:~ill x-rqr~%~~gi.~. .7scz-:x,-,:', ,...- Console yoirr heayts s,

Kzlc.yan iArotgv~J;:~ ;I:,vd~,L.L "hi3x7t ...--. n:.' I[ CZ~TL~~O~say Its 1:~nsil:,;: t:oi:f: W~~.el~3: sL2alL 1 1- retsirn

Sa-i:

34 (937) Topic unknown I Niy~konit-" To think I felt Tsu!ri wo aware to The moan was moving Ornoishi- wa In the capitel-- Kazu ni mo aranu That a trifli-r~~pleasure Susabi narikeri It now seems

35 (938) Topic unknown

Tsuki rniba to Will the girl in my village Chigiri akiteshi !&om I premised Furusat:o no "When I gaze at the moon Kito mo ya koyoi I will remember1' Sode nurasuran Also moisten her sleeve tonight? Toshi talref e DLd I think 1 ~ould Nata Icoyubes:ii tc P2ss this way 2gai.n 0rnoj.ki ya When I was old? Inochi nctrl!:erj- 1:hzt.a Long liEc 1 have lived- Sayo no l;ak;ye:~~a Nzkayama of the 3ight22

20~enn~i L-er.ple -.-Thisis s large 3i;ctcinls. 1, . 2 temple in Osaka fovr?ded by ~h8taituTaisi~i in the sizith century.

21~guchi--~hisWE? a port city on the Yodo River famous for its courtesans who provided entcrcainnent for travelers. The situation from which this pcea and a poeii1 of a retort arose 77as recorded in the -----SanjC,s5.F -- and the m? SankashTand- - beeen?.? the hnsl'.s for the n3 play, Eguchi. SaLgyc poem W~Sdlrected to e Ze;r:ous courteszri, the "~adyoE Eguchi-. Her reply, ~chichis also recorded in the ------~i-iink~l:insh?? (no. 979), was "YO cqo 1Ltcuhito to shi kikeba kari no ~adoni kckor 11 tonu na " oomou bzkari 20.'' Since I heard yo^ were a persor who despf ?es the world I only thought 'ilon't attach your heart to these tenporarp Lodgings.II 11Tc~porary lolgings" is used ironically since it is a term Buddhists, those who "de- spise the world," engloyed to describe the transient world. For a discussion and translatio;l of the play, Eguchi see the .- ,,-- 3 Nippon Gakujiitsv. S5inkokaj-'s &~zzesc :4!3$ D-ca;is and I5032 Peri Le nr.

22~akay2.caof the :

0moiol;u Those I loved and left hehint5 1 HiCo no kol;o.-o nS. Are longed for by me, Sh-jtaware ~2 ,- .-l Crossixlg t:Ii;rol~gl~fields ~s1.1y1.l\~n!;~ir;jL3 ,-% sod- no l\ly sS"eev.:$c co~jcr:ed ~72thde.;,: K:;~rJ.,~-i~jr~~.i~i!.kz.ykz Ch2~ig;~color as my hemL re kr.:::~*:,

Haru.l::jnar LI In the narrow space Iwe no hazaaa ni. Eetxcen ren:Q$lc rocks Hitori ite Bei IX~alo~lc Hit:o me ori:or:7ade Unafraid sf othcrs' eyes PIono onowab;.aya I will grieve over things 25 today a bordar between Ogasi: and I-laibara districts i_n Shizuoka prefecture.

23wakuru------his is a cor piisnted ------kakekoto'~~ -Doiving rise to a variety of meanings. Its two priixazy :ceanFngs in I this context iire "to crossf' ~ild"to flow forth." The whole I expression xakuru--- --.---. sods inplies !I my sl-ecves upor1 'i.t'!zTch dew (and tears)- flo~~~ forth as T cross through fields.I I DE'W almost always in classical poetry is thought of in relation- ship with fears.

24kaerinuru--~hisverb elso acts as a ::akekotoba, with the dual meaning of return and change.

25grieve over things (mno----. ornou) --This expression is particutariy related to love affairs. Otherr~isethere would I seem to be no reason to include this poem in the section on love poetry.

- [LO (13_0:3) Topic u?nkns::_~

I will not in the end 3 Ian2 ~uy1.ox;e That un~7oz:thy; 7-dut whey1 I LF:.~ iler. kgcjr.7 Tiler3 1 iii.43. Ilatc: izyself 26

Nani to ~l3k.i.. SC~C~A-~0q3 Sas~~gan.2 0~~n.i7 ~3-. I feel ?*cluct-an; to lose Irrochj- kzna Tfii.s li.;e oE iti.fie Arieba hito ya At the thcx~h;thci if 1 li17e Orngishiru to te Perhaps she nay learn nAy feeli

m, "I'his vague poen seerl-~sto indiccxe *i'ne:-, althctugh the rilan feels hirilsenf uc:-a~thyof his "Love?, his i:ni;rsrthi- ness itself will not be the cause of t1:e-l~s~cxingly inevi- table estranger.:znt, Rather, it will. 'tre caused by the nani- festztion of this un:.~zn-~'niness. Thus, a d$.sTii.ictlon is nsde between a latent quality and its trar~siatiocinto action. 'When this characteristic bec~i~ssobvious to the wor;l..en, Chen he will hate hirnself. This minutre probing into the reasons for the impending demise of their rocance docs not occur in other 2ra-iscriptions of this poen. in these variant teats the verb ---hateru is give2 in a positive form, ,---hatccc- 3 rather than in the negative ---h~teii. - The poern then could be trans- lated as: I will in the end Blam my love That is unworthy; When I let her know I shall hate rngrself 0 FKI is i? i.r il- If tJhei-e-3 1ii~3-r-esc;i;!~otzc I~-J.-D 2;rL;4i-e27 no Pr! this F~?oTIcI.~7i-is understcuc? LI: r 7 yohfi.ar j. s c 1.3 a No?: i.n ths ds.::.,;ni.ng ~i;~l~i~~~u,%Y,;i t,ao b 2;- I sfiould not feel such endless Uram; z an:asj2.5- grief Ac the moon lingering in the s:

Ail mz.d.~ no I thaught Inocl-ii :zogane to It--?.I: - orA-,l_yI hi';~~II:.c. ,- O~.o:',slni wa Just until w~ meet'" Kuyashikarikeru Eut n3w how 1 regrcL- Vaga koknro kana I did not asl: for more

1 44 (1185) Topic unknown Oixokage no It is a pzrting Wasurarui~ajiki Whose in~ge Wakare kana We shell not forget Nagori wo hito no Si.nce o;e left ow re.r;i,:mbra:;ces Tsuki ni todomete On the face of the riioon

L I ariake--This refers to the time of day when the sun is just rising but the moon still reclains in the sky. For court lovers it was a time when, being oSliged to pzrt, they begin to muse about their night together. Also ----aria22 acrs 2s a ----kaltekotaba in which ari contains the me~ningof the verb -* "to be. I I

28p--~his word is used as a ---kakekotoba with the dual 1 I meming of night'' and "world. "

29tsukisezu--~his---- is the thlrd --.--%ake!:otoha employed in the poem. Yhile tuskisezu is ~henegative of the verb tsukiru, "to end," the first part of the word, --tsulci 3 sug- gests the word "..voon, I I Ariake t;.a At daybre~.k--30 On-pc~ide zi-c ya what rer;ici~-

Hl-iro T,41.7u kodc tie does not ~01~13~1 Kaze no keshiki n:o And I cail tclL ever1 frori the Fultcna~r~~ni wind 32 Awae ni khri nu Eow late it has grocjn-- Otozurete yu!;:~ How sad it is thzt wlld geese Should visit ma and pass on

Tanornznu ni During- the evening- vhen, Kimi ku ya to matsu Even thacgh you did not proi~l Yoi no ma no I wait wsndering if yoti will T*r ukeyukadc tada come, Aken2~l~ashi-kaba Without its growing later I wish it c.;ould clexn

e 30~tdaybreak Seigyo, the priest, is reninded of his thoughts as an ordinary nan leaving a night's tryst.

31~edoes not core--In the olell-2efined rules of courtly love in Japan, it is the woman s:ho waits for the mzn to visit her. This poem and the following pccn are examples of a man writing loxie poeas from the point of view of woxan.

32~venfrom the wind--The wind is a strange but ef- fective indicator of the pesszge of time, if we envision a lonely lover waiting and listening to the wind on an zuturn night. The season is suggssted by the xention of wild sscsc

33~hispoem is written from the point of view of a woman. In her lofty h~~:rtI wish I There was syrap~thycno~~gli ti? r;2! 11 -It is e pityn 1 Ny grief is nut afEeeted By n;:,jr lo;:11y state

49 (1231) Topic r:'..s-lA~iic)-7;:

xi ?;.a shi.l:&a Since I knot: ih;lt- 1 alia 3 .': - Mi.to no toga to v7a an1 not conc2rried 02;g~:a:~ u I? i In finding T~u1.twith hcr Uranligao nj- rm But: tear-,sot.!ced sf.ecvc Nururu sode kana Appears so rescntf ul

50 (1267) Topic t~rlknec:n35

Tsuki nomi ya Just the maon Uwa no sora naru Is our keepsake Katami ni te In the sky, Omoi mo ideba When you rcx~rnker Kokoro kayovan Our hearts \?ill coze together

Kuna rno naki Just at the tixz Ori shimo hito wo When there is r,ot a single clou!,1 Omoiidete I reme~berher Kokoro to tsuki wo And then the moon is smeared Yatsushitsuru kana By the teers of my hezrt

34~hispoem, along with the previous one, refers to SaigyEfs love for a woman of higher rank than his own.

35~hispoem also appeerj in the aiscelleneous set- - tion of the ~ankas'n; with the fcllo-.~ingtopic, "',R?en I was in seclusion in a reriots place I sent this to my beloved in the cayital when the moon was shinirig. 11 UCoku naru l!:hy :r::.~st1 yesgilt her Hj-til rcu ;i,22:';. co tc A(.-,-.i,t;d c_Plzr' 5t15 :h"\a~groi.73 d.:tstant Urzmuran Since theye wrs a tin2 $;hen, Shirarezu shirenu Unkr;owm r~~yszIf, I knew her not? Ori nio arishi ni

54 (1.298) Topic unicnowa

1~azo shiru Now I unzerstend Onoiide yo to When wc prcn~iszdeech other Chigirishi w2, To rerr,=mb~-s Wasuren to te no It was rnza'it to be a love Nasake narikeri We would soon fsrgef

, 55 (1307) Topic unkn~;~rn

Aware to te Why is there Tou hito no nado No one to visit yLe> Nakar ctr an Expressing their pity Mono omou yado no Oh, wind above the reeds Ogi no uwakzze Outside my hut in which I griev

- -.".a -;- ,+!LL&L, I c:ontc~;!plate 2";1,~ nati-?.reof tl~l~~70j:Ld All is Lil*:c ehc hl-ossoxs thzt fall--- To ~.;i~r.i:si1otx3.d 1 give n1yscl.f far nail.:?

Tsuki wo ~ite I used to be light-hearted Kokoro ulcareshi When I look~dat the moon Inishie no And nox, afrcsh, Aki ni mu Sara ni I have r;2 ?,t FIeguriainur u Those autumns of old

(1531) Topic unknotm

Yo no sugzra Throug'noat"ithr n ight Tsuki koso sode ni The mood lodges Yadorikere In my tear-soa!c.~d sleeve Kukashi no aki wo Because I was re3inded Omoiizureba Of the aueuxns of the past

(1532) Topic unknown

Tsuki no iro ni Would nijr spirits Kokoro wo kiyoku Be dyed purely Somemashi ya The color of the moon Eliyako wo idenu If I had not left the capital? Waga mi nariseba

36~ora disci~ssionof this poem and the four follo~li- ing poems see page 72, Sutsu ~o narebz If I abz.ndoriecl my foro:~~I.ifc tlkiyo i.:o i. to 12 There must: be proaf Shirushi era;: That L despise the floating \.Jay-- p5.b a kuct;c_lre w0~l.d; Akj, rto yo i-1.0 *ic;~;l,j. Bur w';'ien 1 ].oak, mz,.l;re clouds cover you \:1,oi~TI 019 21:tli'itil Ilj.ghi

F'i2ken-i Ic2-u T~7ili i 1~ CGTiC. :.i~* '--.:;L i 14g P, TIaga rli no l;age37 wo 111e fzded imege Orr,,ou m~.ni Of rnyse1.z' Hszrvlcn ni tsuki. no In the dLstence Katabulcinikeri The moon bss set

37~eediscussion below. Poea nos. 57-61--These five poems, in which the Koon is the 8". central image, are found in seqLjenec in the ---Shint;okinshu --.--- (ncs 1530-1531;). Slnce the first ti.73 PGE~IT~C:~%:~re cor:.~ose4 in the Sankzs'rlF and the last three, son:sxhat I.eter, in the F~~~OSUSO- PO------Ei----_____?awa utaawase SaigyZ did not originally conceive of the five poems in rel;.?ioon to one another. IIo;?ever, che editors of the -ShinkokinshE ---- ingeniously arranged these poems in such a way as to present the various rncznings of the moon-lnage at different periods in ~aigyo'slife givins us, I believe, suri-znary of Ss~gyo* "1 s life, or inde.ed that of any SudGhist

I priest. The appezrance of the zoon in Japanese Literature is, as in the rest of the world, an esthetically moving event, and ozz w"ch is frequently connected with rorzance. In clas- 1 sical Japanese poetry pa;:ticularly, the noon provgkes its

I viewers to recollect past sdventures under its soft light. S0~2~J'~a~arado~ically,the noon also sj~;?~oIizesthe EuddlrrLs t 1 future ideal of enlightenment. This contradiction in the connotations of the moon thus is espezhally apprapriate tc the conflicts bcc~.i.ecn~ai~~z's human ec:atSons ar,d his reli- gious conviction. - 0 in the first poem, n~,57, S*-ic-\-d=,--3.i as a priest is remindzd upon seein2 the rcoon of the iizht-hearted ronqL1tie days of his secular life. This is not at all a melancholy or seif -ce,zsltzring rrzr-z??_j::axc,, TLn $2 ne-:c PCZZ, no, 53, the Tiore ucual 5 ,-?;less associq"5 :%?i~11 ;~cIc=;~-~TIz:c~;:~~~. yec~l.lec-bion Kt~i::.::) lcakaru I.l'heri auten~~!~coazes zLrau:ld. Toyam;:cs bzLtz-tr3 The edge n? the distant noun-= Akj- sareba t&hs . a onlaiy.~,i 1.1 6::~i: J$hcrc. ~~~~ c'L::~3.d,s hai.ig-.-- Kar.~aal-~5 kj- iL:

.qi--,f'p.ys 23 2-13 rrl3ij~9.3 TCL"~_L.~.CC~;.~~~C -i j,~t:he ccays on h", sleeve, A- Pociit 30. 59 rc:.jst: ccrt;j:'..:ij-~: -i:>yas2~l;s the:: :::2gn as 2 Ei~ddj.list J .. n ...., syrhoi, Sss L,pT.i0 ", s-,cr.:s 'i-0 s;ly;,;,;?st ";.I& fie co~1.dnot have be- c-~z.:~t-,. ddsvoced Bi_*ddhj-sl; ('!by dye$ p~r.el_y i:ilc col.or of tkle if he rerilaiilcd ai;:ofig feqstai:ion,7; of ~E:Ecapital as mr~st of the iii3re c~iiip~exi~isi~~~gpriests. did. IIo~:ever, in. poem no, GO, as he so often does, S~-agys- suasests 30 that he is not as dLssociaeed frorn tile attracLions of the seccr!.ar if^ as he sonic.times pretends or as he ijelS-ev~-.sa ser-ious pries"; should be. Ke must ask the Goon to clat~:,3itself over "Lo kee~ hirrc from being reci?_ride$of th~"floating vrorld," the ga-iety of his r'orm~rexistence. The rnocn as 2 Guc16hist syr!?bol is completely over pn;erel: by this imnentary resurgence of humsn feeling. In the fast pocxi, no, 61, the n~on-image takes 01-1 the most conplex snd ind-ividu2.l L:zzani.ng, By use of the &gg SaiggFS" makes the ;won a syrabol of hi

-ol-Ch-Ka~e 9 a term rn9ani.ng the light or T~~~ECL';.Q~o f the that xhich the xson emits, is utLlized in this poem scribe ~ai~yzhinself (I have translated sspiL~i:no kzig ss TI*Image of nayse'l1, I I i.e., that which one" self enlits). TIn iderltifying 1lir:zeli wit-h the noon, what: he conte~plates, his ag,is imbued with thc saxe contradict?~nsof the gaiety of the secular life and the seriousn2ss of enlighten~ent,as is the noon itself. And while h2 considers the conflicts of his life, now, as a nature pcrssn, he notlces thzt the xoon has set is the distance, paralleling t5c aging which has oc- curred in him. Ssv2ral ocher irripl.ications have also been suggested by this sir;>le ste2errent. The setting of the zoon (sf course, in the IJesr) us~s7Ll.y in thr_ po~tryof ~aigjrz2nd oE ocher ~riests,syi-hofize5 erlli~~rtte;~x,?ritor salvation in the :!estecr;? Pa-radise. But s2igy? lea-c-es 2s with the feeling that he is uncertzin as to his awn en!-ig'?te~~?c"L. Does 11 in the distance" then nean SL~ZL~:' 7 in the 'i'es",~-n Tsradisc or dot it IrlpZ;; out of his reach? This ev~slv~_i~ss,1 believe, ind: cates re~arkebiehumility end depth of character Qn the part cf thf-s celebratsd pzec. 70 . 39 S uz tl l;;;eJ " y gJ-fi3 Across S:-J~,~I; Whe."c4:ilS. beccce of me As X: go ri..n:;i.l-r.g a bell

1 * ><.;az.3 r.i;20-j\r~?, -f&~j,<~j-:lo ~qj~~(4. nj- ii t-c- tile Fi1-j-j- rli:j j:i:l:~.o;:i r,~) Fuj F ' si;:.a'5:e Sora ni kiete Dissolves Into the sky- - Yukue r~7.o shirenu My thought:^ roc, Wags om3ii10 kana KL-~org no clesC5-nation

3BTharc arc a series or' enoo in thFs po~mrelating -- -c- t~ the bsfl which a ';edc~kiist pilg~imrings as tie goes op, ca his way. S~izyowroLe this pcr:rrl scion af;-er he E~cer:-. a priest, and unc4ertosk his first pilgrir~zczs a priese. Suzuka literally rxarls ell 3eer'" arid is tbc 21;-st-. nleneisra of bell. The -furl---- of ---furisu?eEe - -- ("to shake of1 or zw~.yfroill I I is 2 verb nleaning I I to shake, I I as wj-th a be3.1, and firlal-ly the ---nari -- of -nariyuki - ("to becoze of a person") is the ~2.~2 1) sound of another verb rcaning- to ring,"- Thus the verb --nariyuki ----- is also a ------kakekotoba.

39~uzukamauntain-,-This is a fa:~3:!s ~LBCDin JF-~~ccs? literature, being a pass bet~ieenChe two i~qpoc-ti7ntarn2s of Kyoto and Isc,

40~he-i or -hi of --orioi--The - -i sound of modern Japanese was often writte~~and perbps SPO?;~;? as ---hi in the clessical language. Given this fzct, Jzpanesr skholars point out that this ~ovndis the s~sr~as the ward "fire" (hi)- and as SSC~ acts as an _I-_er~zo with the ~3rd"'s~nkc" (&;-ccL). Y0shj-n~Y;L;:~~z A lzt.L.. !.,.- LJ~LL...'- 31 F,Y!l f:h%A"l!.~j-IlDo Yaga.tcz iGcii to I ~7ilLnever 2.~~3-nleave 0rL9$2. 1115- T;,?.s The 'iccih-i-na 1-1j.3.7.s H~.~~~C~j-l~~rla'~2 IJiil p-.r-,ple be 'i:'ai.ti.ng ~CTF!?-

IIi..to ye ~~le?s~?y~~l r7j-!.hl.;i!c:ipg, "Lift:';;: tt-1.2 ~LOSSC:II!S scatter. . . . ,!s: 1

The r?.sunteins ;:re deep; t'c>\L", 7 '3,. th~)j"i-J1 l-.GLI ottn ' s tl~ougi~ts Surely visit ,the% Without living there Can one ':now the pi.ty of thing:

Yamaka~eni What are the f~zlin~s sumanuG2 kokoro va Of those who despise the t:csrld Ika nare ya But do noi live in a r~ou~~t~in Oshinarete iru recess? Tsuki mo aru yo ni Since it is a ~~orlcliq ~~hlch, Even tho~~ghit is regrette?, The moon also hides in the mountains

41~ecaui.e the Yosillno hills ZTE ~PT.:OC!S £0;; thelr cherry blosso:~~,people expect the poet to return after the blossoms ha ~e fallen.

42~urr,anu--Vhile--- th

>: Shiord sedz 1~0 1;~&.;5.,1-~ c gi brt- ay- L2 L~:,;:r;~~brancktr a Nao y.?.;ns f~!;;?i;i~ 1 c;i.I.J. pc:nf?-L;:atc .." 5 . kv E; i~t2- r 3-11 Deepar in20 the m~u,nt~;_5.ris; UI;i ko?o kikanu I pjufider there j-s a place Tokora ari ya to Where 1 will not hear dism~L things?

70 (1-657) Topic unkno~m

Yamazato ni I wish I had a friend Ukiyo itowan Who had givlril i.p the floatirlg Toillo rno gana world Kuyashiku sugishi We would discuss the past Mukashi kataran Which has rcgrettztly gone by

71 (1658) Topic unknown

Yamazsto wa It wes not my idea Hito kosaseji to To forbid others to come here Omowanz do To this nountain village; Towaruru koto zo But somehow I am not3 visited Utoku nariyuktt So infrequently mountains and although peo?le do not like Tt, it is necessary to actually go there and hide froa saciery to e:;peri.encc it. E'ta-,-~l!la,tarlcj a tree: ~t-endinr;a

s ol:-)2. rl [-J .g c::.i:.i.:..?.. I .-. 1 % .* T?,. Bes<.eLp d..isolate 2jeld Iri~hato rai~ rkhe l voicr sf a dove

7'on;9 yo';l~. ko~: CaS.I.i.;.ig t@ frien~:lg-, -- , , c= S ~gui;~ ,F..C cir L~.,*J-.LC I,~.i.~ely, ce.?rrib]_eevc=nirig

Y~;;.~~.ZECSLIno Skrndi.;ig g~i: tfie bougdery 55 ~~+t-~.~k~I;-.Lk ,-I l-n~A.b6.- L :;!-- the field Skimuru no no Which is occ;~p~_co1 Sakai, ni -~ateru As far ;.s th;. steep 1:il.l Tama 12~7 o yanagi BY "ihe ri:suntai-;l villagers -- The beautiful jew21-stringb3 willow I

1 74 (1676) Topic unknown

Shigeki no TZO I have m3dc riy rqa y thr3t12h Iku hitomura ni Lush fields TO Iiori' nany a to.;rn Wakcn2shite And wi13 azzi n return to thr~ Sara ni rnukashi wo To recall the paat Shinabikazsan

1 75 (1677) Topic unknown

Mukashi nishi The years have passed Niwa no kor2atsu ni For the pins sapli~g Toshi furi te In the garden whe-e I saw it Arashi no ofo wo in the past Kozue ni zo kiku NOP~I hear the roar of a storm In its branches!

43~ew21-string (t~;.:a--- i.o - -. --~)--This is the only exo;..~le of the use of a ------mzki1rakoeo5a or pL1Lc.-s-;mrd mong ~algyz's poems in the ------Shi.nkoo'-=in~l-~C. A pillo:.i-:.:crd is a co;lvei;tional epithet, Is this the rcinellz:: Of where I Lived In Fh2 pict: tli;:.r 1 still sec?. yo,;~;-q$-g;+ t~~-yiq~.-i In the de:,:drops on the yom2gi45 -.-. '. , - ~~~~,i?:s-no IT,~%~...-~~~-c IF-- o.-~-//~b. A LL. ! ..,s. brush

Kz?..pt~(r-C-'3#.J.-ro 110 &~t, bzi.~?~~liigl?-spi.rl.ted . /; 6 . E"l~l-~lgao..-132. In asst~~~~iilgtlil~appearance of Ukarete mat2 ~2.sdo~iil Kacrik-i.ni.l,-eri Again I ri.tu.ri! to the teiiplei!,7

Orolcagar u If I had suhri:irted Kokuro no hiku ni To the pull Fizkasete rno Of rfiy r'oclish heart Sate szwa ika ni. And gone 011 as X was, Tsui no vmoi wa What then of my thoug;-~ts of death?

44ka--~is---- verb is an EX-= csed in relat-ionship with dew--~r oewdrops7 form.i 3 Saigyc utilizes this association in describing the mznner in which the r23szD: is reflected in the dew as thcuzh it were forxed like the dex itself. Dew (tsfiyu)----- always in classical Japanese poetry sugges ks tears, so the de-t on the brush a.cts in a two-fold nenner j-plying that the loca- tion G: 'Cis for~erh0re is overgrc';.;n ;+7it:1 <.:c?eds and tha-t the scene invokes a tearful nlenlory. 45y~n~~&--~heEnglish equivalent is muginrt, wormvood, and sagebrush; the Latin name is Arteaisia--.-- indica.- The ap- pearance of this weed indicates that a garden has grown wild.

46kokoro---t--=*.-=*. no rnochioao--- -Ocher texts give this ssion kokoro but the the th ------no arivao"CTP meaning is saze, ssuming the appearance of wisdox or virtue. t I

47~hisis an unus::al cx?~?eof h~~::orous selE-criti- cism i~ classical poetry. Ttfrfile he is out on his daily mis- sions from the temple, Sajgyo's sense of self-importance rises ~7:1ich 5s :-napproprlc te taiz'r: his pries ,111. t,lsl-.s , Sor:e tor.. :en- t?rd~ss~<~o3t he returns co the capital Fndicatlns lclgzr lgtEsGr__s to t11e count^-^^^. -- 79 (174.3) Topic unkrioisn

f? did ~~skli.ts)?]ri.. HOW 1 PELS$ ;li,i 33- Iliadc :.,e;:g;r Tkrouv'r~0- chess ~2~onthsand years 0ku.rk keii In a world =* I

Eke ;;:? L: ."; ki. Co~~ingto th@surEace of the Hito 110 s~g2.tF~ 11.j. world Z;ri,~j-j-ji.dc-.*.- 2.. pzl t~..,1;_1 diffj.~~ltfoYrl of ~i;:;n K0ri.z~y2 dzrc mo Everyoiie , not 'i~crdj-ngexperi.en=;.n, 18i,ia~a .A- shizumu!i.~zk-i. Again shall sink48

81 (1-778) Topic unknown

Izuku ni mo If it is difficult 1 Sumarezuba tada To live in any particulzr Sumadz aran I: shall make no "lir?.? Shiha n2 iori no In a world :d-~~rea brush hut Shibashl aru yo ni Remains j~:s"Lr'r r a~hlle 82 (1779) Topic unknown I Tsuki no yuku I send forth my soul Yana ni kokoro wo To the r~un%eFns Okuriirete Wnere the z~ooi;goes; Yami naru ato no But in the dsrkened aftermath Pli wo ikani sen What becones of my flesh?

48~aigy~wrote this poem ~-henhe viei~eda screen por- traying hell. In the Buddhist schen:? of reincarnation, it is aost difficult to becons a nsn, the last stage fiecessary before becorning enlightened and 5reakiqg the chain of rein- carnation. However, as Saigyo points ou~in this poem, pecplr do not heed experieilce, including rrzrrzory of their good dzeds in their previous life and sink .into hell ;;here they are re- born agsirl. Matngt:t:;1~y;.l There 5s sound 1~s.a~. . nCJ ki_n;? 110 Of tf-i2 si?riaet ter.9l.e bell 0"LO ~UL%F:;?I~- For ~7h<.~llI bzi.v;: b.;cl.1 xgaj-ci.ng fis u m:? y 2 a~:a,'~> a If for m:: tsi~~rcis a Li>ii!3r"~'Ci~~

Kik;?~fi~ SLIP;:^; j_O*0.~2

A". pv5 - ,. ~..-, I 4 !c,. :> a P , I :.;ro~,;f.d krir f.;: again

Yo x,:c i"in r-i~Z-lat 1 ril,sdsi.n the s.JoT~.~--- F-cL -" C -- . Ez, ~70drr3-j- rs,s sz- ~72 ~:ji..a zq,orie L :g~Il. leave be:liud

To:!c;n?~f!.~i.CE? Such a hu.nhlz. peysctn as mvcC'LL~> L, - 1. J.J= Kazu naranu rrii no 1&7i%lbe rume~6::ered for thLs Omoide ni sen

85 (1829) Topic unknown

Eli no usa wo Might I not hav~co:~e eo an O~oisi~iredeya end Y s:nim aashi Without knowinz sorrow Soxukia nalrai no If it were a world Nzki yo nari seba Where the practise of turnin0 one's beck89 Did not exist?

86 (1830) Topic un>w~wn

Ikaga subeki What should I do now? Yo ni arabaya wa If I were in the world Yo wo mo sutete Then I t~o~lldabandon ith9 Ana u no yo ya to And Chink once again Sara ni ornow2.n "Oh, what a bitter world"

49i.e . , become a priest. To t%zphail:thing Is r;ly h.ea.s..-b 2,ttac::ed So that I pet z?.gaj-n lIi~,r.2 6ospj.s~.lcfie marld50

Nas tikc. a?~.EsiEsij. rl*hj.,~... L I ::2.. *,a::i --' --%-.:~-Still Plukashi_ rl.~'rl:i n ao To tir:r:s only in tile pass

Shinobz,-fe k.e v;,i, --,,, .a ..Ll tliel:c c,;~,;; elegance Niq-?.rsemn ul~i I pass my ysnrs in Chis gloomy Yo ni mo furu kana world

89 (1844) When 3alpiqrtil,sl privai ling upon pco;~le, fried to have them corr,,io~c a hull-3rcd-pi12r.1 sequence, I rcifuszd an2 went on a pilgrimage to Kur.:c?no. On the way, in r y dreer-i-[s thc hzad priest Tanka4 of Kvv~r:o sci? t:o ~liunzei5?oE the third rank, I I Even though eiierytliirzg declines, this r!ay 02 Japanese ~oei7s.y indsed ~:i!.l.noe change evin a; tile I End of che ~iorld')~ar.6 .; one should write poetry fht every occas5cnj ," I awoke with a start and inir~dlatelywrote the poem for Ja'a.n-en and sent them to him. At the end I added this pcc::?. / Sue no yo mo If it were not Eor a dresn Kono nasake noni In Which 1 saw Kawarazu to This elegence of Japenese poet Nishi yur:~nakuba unchangsd Yoso ni kikanashi Even in the decaying world I would have listened as thougl elsei,l7her(

50~lthoughnow a priest, Saigyo- discovers his heart i still att~chedto sor~etllingor somone in the ''floating r,sorld We t'r~ocghtthat after becc::ing a priest he t~o~~ldbe unconcernj with r,!orldly rzc-.,ters5< hj.cl: r,izl:e hLx despj se the t;orlb. 51~akuren(6. 1202), a poet-prizst, was a friend of Saigyo and an editor oE the SbinL:a'cinsr.~~,p '- --- "------52~hunzet(1114--1294), as tile lecdi~gpoet of the Kij'l becar? rnost of his pzriod. His school, the * inEl*~er;tialpoet friendship oitk Saigya zcd ~y>rzcba:l3,1 cT hLs ~3:tryk~lprd * -, Szigy? ::in .rec3=?itj.41; in the prscry clrc~2sin the capital. m - 17- 8- - 53 1hcl.~>-o ffA:Le__T I225, d - -T:&L?-~k7;:;~~e&-m I) &-- ?*,r* q~:b~:~~~j..~:2 gL Tkc sEirine s pillars

Shita t-i~ i:-*-.2r~~,\~-. :. - - i-: St~ndso:-f.d%y erected sh<-?

Marnij i ysma Because the gods haxe vov::d Ts~1.icisayakanzru "rhe noon over ~hilciizrite . The Moc?n"iain of the Pat's!. of Arne no shlta wo b2 Terasu narlkzri SJiLI. alwzjrs be bri.gl-lt How it s5iiles on all under

Buddhist yeriod of >i.;eppo,m%z the Latter- End a? the Law. "It ic derived from Buddhist scr5.ptu-r.e~whick-~ predicted that, sxxc2 2,000 yeas after the ~ud2ha'sda~th, his "Leac?iing 1k3.0~143r its pocier and, orling to flarn's depravity, fall uTon degennl.>i days. The word was a technical religious tezn, but it s to have selzed the imagiration of the Jepanese and to h2 gained CUL.Y~:IC~by the 11th centcry. The nunber of yesrs 51 had el~psedsince th? ~u.ddha's deach accorded s;Lth -the ?rc- phecy, and there we-re [political and ec~nomic]reesoas c for regarding the tinizs as degenerate. I I Sansox, j%>aj~mr-A Short Cultural History, p. 242. mLV----*BBYr+.

54~hispoem refers to a passage in the 3,~cc- , . w ing to Shiorl i.izisao in ______.--____-Shin!:c;~:n .c~akz-si?,z -- 1;vos'ilaZiil.----______J cozc-:-.-.I'_ the birch of the Sun an(! the I.'oora by 1za:legi and Fzznazi. Asto2 has translated this p2ssage as foligt.7~: "They thzn z.2 r? gether PX-O~~SC;'~.?the 51x2 go2le;s. , , . he res2lenden~1~s .. nl of this child shone ti?roughau@ all the 5i.r quarters. :rar:A.L- - fore the two Dicties reioiccd, saying- ,, ha~iek28 many L' ' . - ren, but non-e or' theiil have b2ei; eq~~lto this wcndrous I?-;- She oughhot be kept long in this land, b2t v,~eought of c-:_ Qi.2. ~?ZI:C;TC!send k?r ~t cnce co 're2-v~~.222 tzt-ccst to her L' .. afEairs of 51~91.27. . . . T'ey _t?~gr-~-_~odt?cs~the l~bon-g~~d. . . . His ~-2~4~~ next t:o .c,hzc, (;f fh.1:,, ! 1: ; ;; ,; 3.:. yi ;I o :I;.-. ~;~-i~,, G~~+,r7.3c,,,, to be the consore of tEle S:li;--Go :'.-:-:z:, ;:-t:vil-i(3 e>ia.;:-@ irls -he-; grj~err:i>snt. Tfrey $c:,~ci-o~c2 seryc 'n.ja.;:2.sa ~~,T

56i'~hesoiLenlrg of rmon light" is e concept shi-ch is essential to the p1:0pzgat."1-0n of Budii?-:'.sn, BLoonliz'n~ refers to Bcddhist enlighten;:-rnt or the pri;~ciplesid~ich Eire e::?'rjgdie; m in en1ightenzent . 1hi.s 3-.i $7 i: WC:~ brig'ii tes f: rdlen Zuddhc; hin- 7 self propounded his feith in such places as Eagle's Pe&. Eu,] for those \!!LO are less educ;??eY: 2nd for t'.:ot: clist~ntin tlrLz ancl place from its origin, hj-s i-eachngs rn;-ist hz ti3ideci, the 1, light must bc softened, by eppro;>ri~.tecccnq 1nobz:~. QI Thus thd '- f ---_._ enlightened bodfrisatva, the propagator, ra.=t: clevlap techni- ques suited to the milieu and to 2ndividu;l sbilities to cn- able all to find the wsy to enlig'r,te;l.-12r,t;. To acr,oi;;plish chi throughout the developcent of Bur'c'hisx in India, ChLna, and zs pecially in Japan, Buddhists enco~:~:qeda fusion of its doc- trines with native religion. Ir Japan, Buddhists wzre greacly aided in this proczss 5 many B~ddhist-ins~iredin-tperial rulers. TJhile being zttracte to the more sophisticated foreign religion, these sovereigns were attributed divine status by the indigenous cult of Shint Thus for a variety of political and %oral reasons, they sough to reconcile native belief with the imprted Buddhist faith. Among the nnrr,-zrous actions whic;~f~rthc~ed ?he fusion of the two religi-ocs was the erection of a. 3i:ddhist ten:?le in 756 beside the Ise shrines which is the holiest Shinto sanctuary being ths headquerters of the worship oT the Su2 Goddess, Anaterasu, from which the isqperial 1in~cE-?irc?J descent. Fundarcental to the proccsc of ;nc~ldin,-;- B~dd:?ist doct-?in= I to local belie1 was zh, l~Iahayac3conczptian of honji suijaku ------9 1 f original substance maxi-fes ts .israces ,I1 ;;hi.ch man"iocal w, TachTir ad:: L hc: 0211". 5 ght: \;;&-- ;:! 1; rt.3j.nrit 7 f~iLcdto e;pter yartr horis; Ts ~lc!. i

Tpii?;t y0~;7.-.;3~~= Tir3"L: Wal. 2-LLLL~ 2 F: rn

--a ,----..----.-.--*-. --,..a - ->-- .- ...- .,. --.*"..>-.".....e.-4 . . ., ,.--..--.--.----,----a "., -. %-.----4=-.4->

w.20 j ,,7, . , ,ciq

r "yPl-i.,( Kokoro no soya n5- 'ItJilich ha;: c,?~c'~r:'ed.u.p clci &. LCL~\ Suxiu tsul~ip;a And skjFnt. ira the of r;;;r 1x5,:

NisEli ~.ay~;~.~l:~; y~ lv;ll p.... !.I c:.~+> -.--+.I.TX~

Chi.kal.;u r;;..::cn;:;?. The rcgj-~i-~of th:~1Jesre-i~- ll ril.- LJ .--I,t., A tr ai.n5'

58 r'-,L[le yz/:"ic)il 0: C,!;,? n:cjun::;;-?:.n-. -?hi\ rcgloia 02 . . t)-- ~CQLIJ-L ~z?;~, 12 s ;? g;q 3-i3,! i.,:j 2.;; ~2,.. .&, <:, :> 1 ~2 ?" c-% 1-.-,----..-. 3 - - . ..." . _: ,,,. ,,_ to the noori, sirice tile noor1 sei_7s .I~.L-~ z.72~ceyn r:L3;;_n::sins , r-iih 2 S'es t:zrll moun-.5*r;.n: ac-c as the USUC!-\.-.-~. 8Yr3,'L'0i f~~ j-bE TY.-:C~-L~--~, . This poer~ s ugg~sgssaigyG ' s fin2-l. enlig:iten::.en;; atid s al-qa~iona.nd, as , Lrn it is the last p02:ii i-n the ~~Lj~j~;~&~zr;-~;~;~~j~:iakes an exh-ila~at:j..rt; climax to the entire anthology. ~hi~~kc~~:~~~~~[~.~~T~.~31: Sen I rc;n/;. r 4' .,.do.-a> ~- 1 ."' ¶ ~:3~?3~hig-0.~ PS 9. L~'i-: , yoi, 28, Toltyo, 1':->>L;. '--

P a" 4Q(-I - c2j-P-6-"*_Q_I,;7,;3 9 . ------. Ski.i-nliol.13n -e.i;:l;aahlu hy~sl:~lcu @ b r.+.i -.,,4 % &.2 r--* $"; kQ.=-? in Futobz Uts~3boZSIIS!:?~~ vol. 22, Tokyo, , - --*- - ---"- -- -.>-- , "" -

Shj-nkelc~nsh~~ "9'f$"+ *a ". 6. dry . r,r$d C.S I" . . . ed. ICoyc::: Ryi~nosukr? \ *:7 =$# *l e:. d 'r il i /"rr t-3 =.: ls:-pL,. ,,; I in -I--L--.----_Shinsh~~:~ -._-ci+:on am bvnoakuI-. --aI--- sPisho 'drlli-n~------SI~LL~ VOI., 4. Tokyo, 1975,

Shioi Faszo

Japanese-- sources :

. . r4qpz7 Ima ~lonoca-g~yi$'5%7 in UJ 1 $.?--- TT- a i;, 2,- $3 sf:?$ r~nnooetarz.. ad kJ "9" 7 "'3:11,, 4,; ae 1 . ed. Fc?jii O~OCLJI*?) v YTfh6-dir iicrlke dai-nis'riu yoi. ~;~'Zol-:~o('1926. '

k 8' 0 %;lqb? 7 hzamaki Ke%jircoiL;A-- J~r~!~. """ '$ft?q- L L\ @f @ 'i Safgyr 9 4% Tokyo, 1947. 43 , Sai.gyo-.--l.,Lco oyobi sal-l?b.li-*~L.L L i -... ~... --."-*-..---~ ," - -.-.-...-.-- ,,-- , in Ni.hoa3-..---.---,- Su-,slaku 3 vol. 7,

'* " -3 $3 -,C" ".&' j ; Nihon Rel.;isi-~!- 2aj j i ten ------.------* 6;%a , ,: . coinp . Rawnde Talc,r;rj L$- ;)? 'i . Tokyo, 1956-1.960. &** / ;- de 3 5; - 23 ~~k - /< $7 <. Sslnkashu $3 $, ,: ------*a , ed. 1t"ooshi.o , ,, % ws* *.,; I-%. , in -----?Jit-.( zensho vo1,. Tokyo, P.d--= --ko&n L-2.9 42. 3.94 8 - n 4 C. j e<2; I..! i $~'7~.'2--h7"1.2ct-l%.- * e------,d3 : * /r ..-,*+ ;+; . ed. ?

-a, +*,* 77 #-- r ("i rj.arT "9"<*? rn c- Takane Seijiro 4 ; , ------Kaiir; Saic~yo;~:';/LLL- L3.d- P % P3LB &*-id . Tokyo, 1933, ,, eL, e?:q = L g-**:- L-'*__--__ ;i,,'~;-) v -< -: Waka br_?vlpql-udai'iten ,r rrr::~p.c, fylI& E?----;- J /&, s., . ,qed, K~zbota Utsubo 12 E1) Scand ~tr~~~hi~4:; :::.: 2-@ =& il f"Jw7d *%~/g-, Tokyo, 9962. @J' ( LY 08

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-