DOCSLIB.ORG

{PDF EPUB} One Hundred Poets One Poem Each A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
{PDF EPUB} One Hundred Poets One Poem Each A Read Ebook {PDF EPUB} One Hundred Poets One Poem Each A Translation of the Ogura Hyakunin Isshu by Fujiwara no Teika One Hundred Poets One Poem Each: A Translation of the Ogura Hyakunin Isshu by Fujiwara no Teika. Our systems have detected unusual traffic activity from your network. Please complete this reCAPTCHA to demonstrate that it's you making the requests and not a robot. If you are having trouble seeing or completing this challenge, this page may help. If you continue to experience issues, you can contact JSTOR support. Block Reference: #2ffc86c0-cf89-11eb-b687-51a3991a88d1 VID: #(null) IP: 116.202.236.252 Date and time: Thu, 17 Jun 2021 16:29:28 GMT. One Hundred Poets One Poem Each: A Translation of the Ogura Hyakunin Isshu by Fujiwara no Teika. One Hundred Poets, One Poem Each. A Translation of the Ogura Hyakunin Isshu. A Translation of the Ogura Hyakunin Isshu Japanese title: 小倉百人一首 Originally compiled by Fujiwara no Teika (藤原定家) Translated and with an Introduction by Peter McMillan With a Foreword by Donald Keene With an Afterword by Eileen Kato With an Appendix on: The Colors of the Flower: Poem 9 as an Example of Code Language and Multiplicity of Meanings in Waka With illustrations, the Japanese text, and romanized transliterations There are more than a dozen other translations of the Hyakunin Isshu into English. - Return to top of the page - See our review for fuller assessment. Review Summaries Source Rating Date Reviewer The Japan Times . 16/3/2008 Donald Richie. "Keene has called this "by far the best translation to date" and it comes to us with full notes on the poems as well as notes on the poets, a listing of the waka in Japanese and in transliteration, a full glossary, and each of the poems illustrated by line drawings (from various sources) that render the plainly aristocratic tone of this collection." - Donald Richie, The Japan Times. - Return to top of the page - The Ogura Hyakunin Isshu is a poetry-anthology first put together around 1237 by Fujiwara no Teika (who also included one of his own poems), and remains a very significant collection. As Peter McMillan puts it in his Introduction: One Hundred Poets One Poem Each: A Translation of the Ogura Hyakunin Isshu by Fujiwara no Teika. One Hundred Poems by One Hundred Poets. The Ogura hyakunin isshu is a collection of one hundred poems composed for the most part over a period of some three hundred years, from the early tenth to the early thirteenth century. The poems are assumed to have been selected by Fujiwara no Teika (or Sadaie , 1162-1241), the outstanding waka poet and critic of his day, although a number of textual issues exist. Teika mentions in his diary, the Meigetsu-ki , being requested by his son Tameie to choose one hundred poems that, when transcribed onto rectangular strips of paper known as shikishi , could be used to decorate the door panels in the villa owned by Tameie's father-in-law Utsunomiya Yoritsuna near Mount Ogura on the western outskirts of Kyoto (alternative interpretations hold that the father-in-law made the selection, which was then transcribed by Teika, or that this first selection was later superseded by an almost identical but rearranged version that Teika compiled for his own use). First known simply as the Hyakunin isshu , the collection became the model for a variety of other similar anthologies, so the place name "Ogura" was subsequently added to distinguish it from the others. Yet such was the prestige of this particular collection that it eventually acquired definitive status, so that even now whenever one speaks of "the" Hyakunin isshu , it is the Ogura hyakunin isshu that is meant. Its influence and authority would be hard to overstate, and it seems safe to say that when the average Japanese thinks of waka, these are the ones that inevitably come to mind (they are, in fact, the first waka memorized by most schoolchildren). For the translations, I started by relying on several Japanese sources aimed chiefly at general readers and high school students preparing for university entrance examinations. These sources are now in the process of being supplemented by more strictly academic studies. I have, of course, seen previous English translations of many of the poems, but I deliberately avoided consulting them while making my own initial versions, which are as original as can reasonably be expected for this sort of translation. Readers should find the different approaches interesting to consider. Still, not to take advantage of the efforts of previous translators can be tantamount to refusing to correct errors in judgment -- or sometimes just plain outright errors. A two-stage revision process is therefore envisioned for this complete initial set: a first stage in which I will tidy up various inconsistencies and possibly adjust the text to more closely match that of the original, followed by a second stage that takes into consideration other published translations (with credit given as appropriate). This sort of flexibility is one of the primary benefits of publishing online, and other tweaks may be made along the way. I remind readers that I own the copyright to the translations on this site. Titles, abbreviations, and technical points. Teika selected the poems in the Hyakunin isshu from the first ten imperial anthologies of Japanese poetry, as listed below. Those collections have what might be called complete titles and condensed titles. For example, the complete title of the first such collection is Kokinwakashū (Collection of Ancient and Modern Japanese Poetry). Typically, however, the word waka is omitted, and the collection is simply called Kokinshū . This site will use the somewhat less formal shorter forms. Each translation lists the source of the waka, to which is appended in parentheses the number of the poem in the standard Shinpen kokka taikan (SKT) index published by Kadokawa (all other poem numbers also refer to this source). The collections, with dates of completion (disagreements may exist) and the number of waka from each included in the Hyakunin isshu : Date Title Translation No. of waka 905 Kokinshū Collection of Ancient and Modern Poetry 24 951 Gosenshū Later Collection 6 c. 1006 Shūishū Collection of Gleanings 11 1086 Goshūishū Later Collection of Gleanings 14 1127 Kin'yōshū Collection of Golden Leaves 5 1151 Shikashū Collection of Verbal Flowers 5 1188 Senzaishū Collection for a Thousand Years 15 1205 Shinkokinshū New Collection of Ancient and Modern Poetry 14 1235 Shinchokusenshū New Imperial Collection 4 1251 Shokugosenshū Later Collection Continued 2. A conventional five-line format has been adopted for the translations, reflecting the importance of the ku (句, which has been translated as "measure" when referring to the Japanese and as "line" when referring to the translation) for appreciating many of the poetic effects achieved through technical means, kugire being an obvious example. Place names joined with " no " incorporate hyphens in the transliterations -- "Ama-no- kaguyama" and "Tago-no-ura," for instance -- although not necessarily in the translations. Also with respect to transliteration, adjectival verbs ( keiyōdōshi ) are in principle treated as single words, so inflections like " ni " and " naru " become part of the stem when other particles are attached. The waka are normally accompanied by headnotes in the sources from which they are taken, but whenever a headnote simply specifies the poet or the topic (usually obvious from the poem's classification and/or content), it has usually been passed over in the comments. One Hundred Poets One Poem Each: A Translation of the Ogura Hyakunin Isshu by Fujiwara no Teika. My clothes wet with the midnight dews— Through the roof mat, In this temporal hut, For our harvest. Tenchi Tenno. Has Spring passed away? Did Summer already come? Lo, Kagu Yama! There The white gowns are seen being dried. Jito Tenno. What a long night! How could I sleep alone! How the night drags!—(Dragging As a mountain fowl's long-dropped tail!) Kakinomoto no Hitomaro. From Tago Ura, I behold Fuji's white summit,— Over the high summit, The snow falling and falling on. Yamabe no Akahito. How sad is Autumn, When you hear the deer's cry. With his hoofs upon the maple leaves,, Amid the deeper hill! Sarumaru Dayu. Must be done the night: Over the Kasasagi bridge in the sky, The frost white, I see, Is set already. Chunagon Yakamochi. Behold the heavenly vastness, The sky of the moon! Is it not the same moon I once saw, Out of Kasuga's Mikasa hill? Abe no Nakamaro. My hut is southward of the city, here like this I live alone: Why, people call here Ujiyama. (The "World-sad Hill")! Kisen Hoshi. The flowers and my love, Passed away under the rain, While I idly looked upon them: Where is my yester-love? Ono no Komachi. here some depart, here some return, Once they part, and they meet here again,— The people who know and who know not: 'Tis Ausaka Gate (the "Meeting Height Gate"). Semimaru. O thou, fisher's boat, Tell men that I sailed. Away into the eighty isles, Into the bluest field,—the sea! Sangi Takamura. O heavenly wind, Blow and stop the road of clouds! Let the beauties, nay, the angels, For a while be with us! Sosho Henjo. From the Tsukuba summit, Mina no Kawa drops down, And the waters gathered make the depth! Oh so is love. Yoseiin. Why does thy heart so stir, Mojizuri of Michinoku's Shinobu loom? Whom my heart does stir to? Alas, nobody but my love! Kawara no Sadaijin. For thy sake, I come out in the Spring field, And the wakana I gather,— Lo, the snow-flakes falling on my gown.
Load more

Recommended publications
  • Reading the Miraculous Powers of Japanese Poetry Spells, Truth Acts, and a Medieval Buddhist Poetics of the Supernatural
    Japanese Journal of Religious Studies 32/: –33 © 2005 Nanzan Institute for Religion and Culture R. Keller Kimbrough Reading the Miraculous Powers of Japanese Poetry Spells, Truth Acts, and a Medieval Buddhist Poetics of the Supernatural The supernatural powers of Japanese poetry are widely documented in the lit- erature of Heian and medieval Japan. Twentieth-century scholars have tended to follow Orikuchi Shinobu in interpreting and discussing miraculous verses in terms of ancient (arguably pre-Buddhist and pre-historical) beliefs in koto- dama 言霊, “the magic spirit power of special words.” In this paper, I argue for the application of a more contemporaneous hermeneutical approach to the miraculous poem-stories of late-Heian and medieval Japan: thirteenth- century Japanese “dharani theory,” according to which Japanese poetry is capable of supernatural effects because, as the dharani of Japan, it contains “reason” or “truth” (kotowari) in a semantic superabundance. In the first sec- tion of this article I discuss “dharani theory” as it is articulated in a number of Kamakura- and Muromachi-period sources; in the second, I apply that the- ory to several Heian and medieval rainmaking poem-tales; and in the third, I argue for a possible connection between the magico-religious technology of Indian “Truth Acts” (saccakiriyā, satyakriyā), imported to Japan in various sutras and sutra commentaries, and some of the miraculous poems of the late- Heian and medieval periods. keywords: waka – dharani – kotodama – katoku setsuwa – rainmaking – Truth Act – saccakiriyā, satyakriyā R. Keller Kimbrough is an Assistant Professor of Japanese at Colby College. In the 2005– 2006 academic year, he will be a Visiting Research Fellow at the Nanzan Institute for Religion and Culture.
    [Show full text]
  • The Case of Sugawara No Michizane in the ''Nihongiryaku, Fuso Ryakki'' and the ''Gukansho''
    Ideology and Historiography : The Case of Sugawara no Michizane in the ''Nihongiryaku, Fuso Ryakki'' and the ''Gukansho'' 著者 PLUTSCHOW Herbert 会議概要（会議名, Historiography and Japanese Consciousness of 開催地, 会期, 主催 Values and Norms, カリフォルニア大学 サンタ・ 者等） バーバラ校, カリフォルニア大学 ロサンゼルス校, 2001年1月 page range 133-145 year 2003-01-31 シリーズ 北米シンポジウム 2000 International Symposium in North America 2014 URL http://doi.org/10.15055/00001515 Ideology and Historiography: The Case of Sugawara no Michizane in the Nihongiryaku, Fusi Ryakki and the Gukanshd Herbert PLUTSCHOW University of California at Los Angeles To make victims into heroes is a Japanese cultural phenomenon intimately relat- ed to religion and society. It is as old as written history and survives into modem times. Victims appear as heroes in Buddhist, Shinto, and Shinto-Buddhist cults and in numer- ous works of Japanese literature, theater and the arts. In a number of articles I have pub- lished on this subject,' I tried to offer a religious interpretation, emphasizing the need to placate political victims in order to safeguard the state from their wrath. Unappeased political victims were believed to seek revenge by harming the living, causing natural calamities, provoking social discord, jeopardizing the national welfare. Beginning in the tenth century, such placation took on a national importance. Elsewhere I have tried to demonstrate that the cult of political victims forced political leaders to worship their for- mer enemies in a cult providing the religious legitimization, that is, the mainstay of their power.' The reason for this was, as I demonstrated, the attempt leaders made to control natural forces through the worship of spirits believed to influence them.
    [Show full text]
  • © in This Web Service Cambridge University
    Cambridge University Press 978-1-107-02903-3 - The Cambridge History of Japanese Literature Edited by Haruo Shirane and Tomi Suzuki Index More information Index Abbot Rikunyo (1734–1801), 465 Ukiyo monogatari (Tales of the Floating Abe Akira (1934–89), 736 World, 1661), 392 Abe Kazushige (b. 1968), 765, 767 Atsumori, 8, 336, 343 Abe Ko¯bo¯(1924–93), 701, 708, 709, 760 aware (pathos), 80, 138, 239, 299, 474, 486 Adachigahara, 339 Ayukawa Nobuo (1920–86), 717 akahon (red books), 510–22 Azuma nikki (Eastern Diary, 1681), 409 Akazome Emon, 135, 161, 170, 193–7 Azumakagami, 201 Akimoto Matsuyo (1911–2001), 708 azuma-uta (eastland songs), 77, 79, 82, 111 Akizato Rito¯(?–1830), 524 To¯kaido¯ meisho zue (Illustrated Sights of Backpack Notes. See Matsuo Basho¯ the To¯kaido¯, 1797), 524–5 Bai Juyi (or Bo Juyi, J. Haku Kyoi or Haku Akutagawa Ryu¯nosuke (1892–1927), 286, 630, Rakuten, 772–846), 124 639, 669, 684, 694–5, 700 Baishi wenji (Collected Works of Bai Juyi, ancient songs, 25, 26, 28–9, 37, 40–4, 52, 57–8, J. Hakushi monju¯ or Hakushi bunshu¯, 60; see also kiki kayo¯ 839), 184–6, 283 Ando¯ Tameakira (1659–1716), 138, 480 Changhen-ge (Song of Never-Ending Shika shichiron (Seven Essays of Sorrow, J. Cho¯gonka, 806), 152 Murasaki, 1703), 138 Baitei Kinga (1821–93), 530 anime, 729, 764 bakufu (military government), 95, 201, 211–12, Anzai Fuyue (1898–1965), 684, 714–15 215, 216, 295, 297, 309, 312, 314, 348–9, aohon (green books), 510–22 374–6, 377–8, 388, 389, 393–5, 419, 432–3, Aono Suekichi (1890–1961), 658–9 505–7, 520–2, 532–3 Arai Hakuseki (1657–1725), 4, 461, 546 banka (elegy), 54, 63–4, 76, 77, 83 Arakida Moritake (1473–1549), 326 banzuke (theater programs), 391, 425, 452 Arakida Reijo (1732–1806), 377 Battles of Coxinga.
    [Show full text]
  • UC Irvine UC Irvine Electronic Theses and Dissertations
    UC Irvine UC Irvine Electronic Theses and Dissertations Title Soteriology in the Female-Spirit Noh Plays of Konparu Zenchiku Permalink https://escholarship.org/uc/item/7bk827db Author Chudnow, Matthew Thomas Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, IRVINE Soteriology in the Female-Spirit Noh Plays of Konparu Zenchiku DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSPHY in East Asian Languages and Literatures by Matthew Chudnow Dissertation Committee: Associate Professor Susan Blakeley Klein, Chair Professor Emerita Anne Walthall Professor Michael Fuller 2017 © 2017 Matthew Chudnow DEDICATION To my Grandmother and my friend Kristen オンバサラダルマキリソワカ Windows rattle with contempt, Peeling back a ring of dead roses. Soon it will rain blue landscapes, Leading us to suffocation. The walls structured high in a circle of oiled brick And legs of tin- Stonehenge tumbles. Rozz Williams Electra Descending ii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS iv CURRICULUM VITAE v ABSTRACT OF DISSERTATION vi INTRODUCTION 1 CHAPTER 1: Soteriological Conflict and 14 Defining Female-Spirit Noh Plays CHAPTER 2: Combinatory Religious Systems and 32 Their Influence on Female-Spirit Noh CHAPTER 3: The Kōfukuji-Kasuga Complex- Institutional 61 History, the Daijōin Political Dispute and Its Impact on Zenchiku’s Patronage and Worldview CHAPTER 4: Stasis, Realization, and Ambiguity: The Dynamics 95 of Nyonin Jōbutsu in Yōkihi, Tamakazura, and Nonomiya CONCLUSION 155 BIBLIOGRAPHY 163 iii ACKNOWLEDGEMENTS This dissertation is the culmination of years of research supported by the department of East Asian Languages & Literatures at the University of California, Irvine.
    [Show full text]
  • A COMPARISON of the MURASAKI SHIKIBU DIARY and the LETTER of ABUTSU Carolina Negri
    Rivista degli Studi Orientali 2017.qxp_Impaginato 26/02/18 08:37 Pagina 281 REFERENCE MANUALS FOR YOUNG LADIES-IN-WAITING: A COMPARISON OF THE MURASAKI SHIKIBU DIARY AND THE LETTER OF ABUTSU Carolina Negri The nature of the epistolary genre was revealed to me: a form of writing devoted to another person. Novels, poems, and so on, were texts into which others were free to enter, or not. Letters, on the other hand, did not exist without the other person, and their very mission, their signifcance, was the epiphany of the recipient. Amélie Nothomb, Une forme de vie The paper focuses on the comparison between two works written for women’s educa- tion in ancient Japan: The Murasaki Shikibu nikki (the Murasaki Shikibu Diary, early 11th century) and the Abutsu no fumi (the Letter of Abutsu, 1263). Like many literary docu- ments produced in the Heian (794-1185) and in the Kamakura (1185-1333) periods they describe the hard life in the service of aristocratic fgures and the difculty of managing relationships with other people. Both are intended to show women what positive ef- fects might arise from sharing certain examples of good conduct and at the same time, the inevitable negative consequences on those who rejected them. Keywords: Murasaki Shikibu nikki; Abutsu no fumi; ladies-in.waiting; letters; women’s education 1. “The epistolary part” of the Murasaki Shikibu Diary cholars are in agreement on the division of the contents of Murasaki Shikibu nikki (the Murasaki Shikibu Diary, early 11th century) into four dis- Stinct parts. The frst, in the style of a diary (or an ofcial record), presents events from autumn 1008 to the following New Year, focusing on the birth of the future heir to the throne, Prince Atsuhira (1008-1036).
    [Show full text]
  • Japanese Studies Review, Vol. XX (2016), Pp
    ISSN: 1500-0713 ______________________________________________________________ Article Title: Performing Prayer, Saving Genji, and Idolizing Murasaki Shikibu: Genji Kuyō in Nō and Jōruri Author(s): Satoko Naito Source: Japanese Studies Review, Vol. XX (2016), pp. 3-28 Stable URL: https://asian.fiu.edu/projects-and-grants/japan-studies- review/journal-archive/volume-xx-2016/naito-satoko- gkuyojoruri_jsr.pdf ______________________________________________________________ PERFORMING PRAYER, SAVING GENJI, AND IDOLIZING MURASAKI SHIKIBU: GENJI KUYŌ IN NŌ AND JŌRURI1 Satoko Naito University of Maryland, College Park Introduction The Murasaki Shikibu daraku ron [lit. “Story of Murasaki Shikibu’s Fall] tells that after her death Murasaki Shikibu (d. ca. 1014) was cast to hell.2 The earliest reference is found in Genji ipponkyō [Sutra for Genji] (ca. 1166), which recounts a Buddhist kuyō (dedicatory rite) performed on her behalf, with the reasoning that the Heian author had been condemned to eternal suffering in hell for writing Genji monogatari [The Tale of Genji] (ca. 1008). Though Genji ipponkyō makes no explicit claim to the efficacy of the kuyō, its performance is presumably successful and saves the Genji author. In such a case the earliest extant utterance of the Murasaki-in-hell story is coupled with her subsequent salvation, and the Genji author, though damned, is also to be saved.3 It may be more accurate, then, to say that the Murasaki Shikibu daraku ron is about Murasaki Shikibu’s deliverance, rather than her fall (daraku). Through the medieval period and beyond, various sources recounted the execution of kuyō rites conducted for The Tale of Genji’s author, often initiated and sponsored by women.4 Such stories of Genji kuyō 1 Author’s Note: I thank those who commented on earlier versions of this paper, in particular D.
    [Show full text]
  • 100 Poems Imitating 100Translations Richard P.Gabriel
    100 Poems Imitating 100 Translations Richard P.Gabriel May 17, 2021 Contents What Is This?—An Introduction . ii ShelteredHarvest........................................ 1 WetandWhite ......................................... 2 MountainPast.......................................... 3 ChocoruaMountainHighway . 4 CrimsonLeaves......................................... 5 SuchColors........................................... 6 StoneDark ........................................... 7 Skaw............................................... 8 NarrowingRoad ........................................ 9 Hey ............................................... 10 PastOutSkerries ........................................ 11 SkyPaths ............................................ 12 ForkedRiver........................................... 13 Puzzle.............................................. 14 Herbs .............................................. 15 Mountainous .......................................... 16 LongRedRoad ......................................... 17 LightFall ............................................ 18 ImpossibleGap ......................................... 19 Grief! .............................................. 20 AsIfaPriest........................................... 21 StormandDestruction ..................................... 22 MoonViewing ......................................... 23 Brocade ............................................. 24 MountRendezvous ....................................... 25 PastSnowfall .........................................
    [Show full text]
  • Read Ebook {PDF EPUB} Sugawara No Michizane and the Early Heian Court by Robert Borgen Sugawara No Michizane and the Early Heian Court by Robert Borgen
    Read Ebook {PDF EPUB} Sugawara No Michizane and the Early Heian Court by Robert Borgen Sugawara No Michizane and the Early Heian Court by Robert Borgen. Our systems have detected unusual traffic activity from your network. Please complete this reCAPTCHA to demonstrate that it's you making the requests and not a robot. If you are having trouble seeing or completing this challenge, this page may help. If you continue to experience issues, you can contact JSTOR support. Block Reference: #1bc2a6c0-ce27-11eb-9f2b-9b289c5f10eb VID: #(null) IP: 116.202.236.252 Date and time: Tue, 15 Jun 2021 22:14:52 GMT. Sugawara No Michizane and the Early Heian Court by Robert Borgen. Our systems have detected unusual traffic activity from your network. Please complete this reCAPTCHA to demonstrate that it's you making the requests and not a robot. If you are having trouble seeing or completing this challenge, this page may help. If you continue to experience issues, you can contact JSTOR support. Block Reference: #1bc34300-ce27-11eb-8fa9-d3dc48c977eb VID: #(null) IP: 116.202.236.252 Date and time: Tue, 15 Jun 2021 22:14:53 GMT. Sugawara no Michizane and the early Heian court. Places: Japan Subjects: Sugawara, Michizane, 845-903., Statesmen -- Japan -- Biography., Japan -- History -- Heian period, 794-1185. Edition Notes. Includes bibliographical references (p. 375-402) and indexes. Statement Robert Borgen. Classifications LC Classifications DS856.72.S9 B67 1994 The Physical Object Pagination xxiii, 431 p. : Number of Pages 431 ID Numbers Open Library OL1425950M ISBN 10 0824815904 LC Control Number 93036993. Sugawara no Michizane was an excellent student and scholar.
    [Show full text]
  • Volume 23 (2016), Article 3
    Volume 23 (2016), Article 3 http://chinajapan.org/articles/23/3 Williams, Nicholas Morrow, “Being Alive: Doctrine versus Experience in the Writings of Yamanoue no Okura” Sino-Japanese Studies 23 (2016), article 3. Abstract: Yamanoue no Okura’s 山上憶良 (660–733?) writings in the Man’yōshū 萬葉集 anthology present unique challenges of linguistic and literary-historical reconstruction. Composed in various permutations of man’yōgana and logographic script and also in Chinese (kanbun), Okura’s texts are replete with allusions to Chinese texts ranging from the Confucian canon to apocryphal Buddhist sutras and popular anthologies, many of which are lost or survive only in Dunhuang manuscripts. But the technical challenges in approaching Okura’s writings should not blind us to the spirit of skeptical self-awareness that underlie these literary artifacts. Okura frequently cites the spiritual doctrines contained in his Chinese sources: the overcoming of suffering in Buddhist scripture, the perfection of the body through Daoist practices, or the ethical responsibilities set out in Confucian teachings. But he has a singular practice of partial or misleading quotation: borrowing scattered fragments of philosophy or religion, but reusing them to shape singular representations of his own experience. This article will first present an overview of Okura’s extant works as contained in the Man’yōshū anthology, as well as the primary Chinese sources that seem to have influenced him. The next three sections analyze particular works of Okura in light of their Chinese intertexts, roughly organized around their Buddhist, Daoist, or Confucian orientations. The conclusion offers some tentative indications of how Okura’s distinctive reactions to his sources influenced his own literary style, and also regarding Okura’s legacy for Japanese letters.
    [Show full text]
  • Yosano Akiko and the Tale of Genji / G.G
    Yosano Akiko and The Tale ofGenji "Akiko on a Certain Day," from the early years of the Taisho period. Courtesy of Chikuma Shobo Publishing Co., Ltd. Yosano Akiko and The Tale ofGenji G. G. Rowley Ann Arbor 2000 Center for Japanese Studies The University of Michigan Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. Copyright © 2000 The Regents of the University of Michigan Published by the Center for Japanese Studies, The University of Michigan 202 S Thayer St., Ann Arbor, MI 48104-1608 Michigan Monograph Series in Japanese Studies Number 28 PERMISSIONS Material for chapter three draws upon an article "Literary Canon and National Iden- tity: The Tale ofGenji in Meiji Japan," Japan Forum 9.1 (1997): 1-15 and is reprinted here with permission of the British Association for Japanese Studies and Routledge. Material for chapter six first appeared in an article "Textual Malfeasance in Yosano Akiko's Shiny aku Genji monogatari" Harvard Journal of Asiatic Studies 58.1 (June 1998): 201-19 and is reprinted here with permission of the editors. Library of Congress Cataloging-in-Publication Data Rowley, Gillian Gaye, 1960- Yosano Akiko and the Tale of Genji / G.G. Rowley. p. cm. — (Michigan monograph series in Japanese studies no. 28) Includes bibliographical references and index. ISBN 0-939512-98-X (cloth : alk. paper) 1. Yosano, Akiko, 1878-1942—Criticism and interpretation. 2. Murasaki Shikibu, b. 978? Genji monogatari. I. Murasaki Shikibu, b. 978? Genji monogatari. II. Title. III. Series. PL819.O8R68 2000 895.6f144—dc21 99-089978 This book was set in Janson Text Jacket design by Seiko Semones This publication meets the ANSI/NISO Standards for Permanence of Paper fo Publications and Documents in Libraries and Archives (Z39.48-1992).
    [Show full text]
  • Akazome Emon: Her Poetic Voice and Persona Takeshi Watanabe Connecticut College/Wesleyan University
    Yale University EliScholar – A Digital Platform for Scholarly Publishing at Yale Waka Workshop 2013 Conferences and Symposia 3-1-2013 Akazome Emon: Her Poetic Voice and Persona Takeshi Watanabe Connecticut College/Wesleyan University Follow this and additional works at: http://elischolar.library.yale.edu/waka2013 Part of the East Asian Languages and Societies Commons Recommended Citation Watanabe, Takeshi, "Akazome Emon: Her Poetic Voice and Persona" (2013). Waka Workshop 2013. http://elischolar.library.yale.edu/waka2013/13 This Article is brought to you for free and open access by the Conferences and Symposia at EliScholar – A Digital Platform for Scholarly Publishing at Yale. It has been accepted for inclusion in Waka Workshop 2013 by an authorized administrator of EliScholar – A Digital Platform for Scholarly Publishing at Yale. For more information, please contact [email protected]. Akazome Emon: Her Poetic Voice and Her Persona Takeshi Watanabe Some of us may have first encountered the name of Akazome Emon 赤染衛門 (c.960 - c.1045) as the purported author of Eiga monogatari, The Tale of Flowering Fortunes. Yet for many others, Murasaki Shikibu probabLy introduced them to Akazome. The wife of the Governor of Tanba is known to those around Her Majesty and His ExceLLency as Masahira Emon. She may not be a genius but she has great poise and does not feeL that she has to compose a poem on everything she sees, mereLy because she is a poet. Those poems we know, even those composed for casual occasions, Leave us alL embarrassed about our own. 丹波の守の北の方をば、宮殿などのわたりには、匡衡衛門とぞいひ侍る。ことにや むごとなきほどならねど、まことにゆゑゆゑしく、歌よみとて、よろづのことにつ けてよみちらさねど、聞こえたるかぎりは、はかなきをりふしのことも、それこそ 恥づかしき口つきに侍れ。1 When compared to the criticism LeveLed against some of the other court women, these are laudatory words coming from an esteemed authority.
    [Show full text]
  • The Zen Poems of Ryokan PRINCETON LIBRARY of ASIAN TRANSLATIONS Advisory Committee for Japan: Marius Jansen, Ear! Miner, Janies Morley, Thomas J
    Japanese Linked Poetry An Account unih Translations of Rcnga and Haikai Sequences PAUL MINER As the link between the court poetry of the classical period and the haiku poetry of the modern period, the rcnga and haikai which constitute Japanese linked poetry have a position of central im­ portance in Japanese literature. This is the first comprehensive study of this major Japanese verse form in a Western language, and includes the critical principles of linked poetry, its placement in the history of Japanese literature, and an analysis of two renga and four haikai sequences in annotated translation. “The significance of the book as a pioneering work cannot be overemphasized. .. We should be grateful to the author for his lucid presentation of this difficult subject.” — The Journal of Asian Studies Cloth: ISBN 06372-9. Paper: ISBN 01368-3. 376 pages. 1978. The Modern Japanese Prose Poem An Anthology of Six Poets Translated and with an Introduction by DENNIS KEENE “Anyone interested in modern Japanese poetry, and many in­ volved in comparative literature, will want to own this work.” — Montmenta Nipponica Though the prose poem came into existence as a principally French literary genre in the nineteenth century, it occupies a place of considerable importance in twentieth-century Japanese poetry. This selection of poems is the first anthology of this gcurc and, in effect, the first appearance of this kind of poetry in English. Providing a picture of the last fifty years or so of Japanese poetry, the anthology includes poems by Miyoshi Tat- suji and Anzai Fuyue, representing the modernism of the prewar period; Tamura Ryuichi and Yoshioka Minoru, representing the post-war period; and Tanikawa Shuntaro and Inoue Yashushi, representing the present.
    [Show full text]