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. Kwoko tenno. Now we part. The pine-tree grows. There on the Inaba mountain top. If thou shouldst say "pine"* I to you will soon return. Chunagon Yukihira. *"Matsu in Japanese, meaning "wait." I did not hear even in the gods' age,— Behold Tatsuda Gawa!— The waters were reddened so By the autumn leaves. Ariwara no Narihira. I think of thee, I go along the road of dream to meet thee, How I fear people's curious eyes! (Oh my love riding on the waves of dream!) Fujiwara no Toshiyuki Ason. Must I pass the days and world, Not seeing thee, Even for a short time,—short like the ashi joints of the Naniwa shore? Ise. Now it will be same watever it be. Oh what a misery! I might think to see thee once more Even for my own life. Motoyoshi Shinno. Now I have to wait Only for the Naga Tsuki morning moon* to appear, But thy word of promise To come and see me soon! Sosei Hoshi. *Ariake in original. Under the wind-blow, The Autumn grasses and trees wither away. Is it not right to call A yama kaze* "storm"? Bunya no Yasuhide. *"Yama kaze" is mountain and wind, which two characters make one "storm" (arashi). To gaze upon the moon Is to be sad in a thousand ways, Though all the Autumn Is not meant to be my own self's. Oye no Chizato. A nusa I could not bring with me this time, Oh god, but the brocade of maple leaves Of the Tamuke mountain Will serve for thy will. Kanke. Is there no way to come* as secret As the trace of a sanekatsura vine Of the Osaka mountain? (Oh, reel** of the vine!) Sanjo no Udaijin. *"To come is kuru in Japanese, "reel" also being kuru. Such a jugglery of words is one phase of our Japanese tanka. **Hinting "sleep." The maple leaves on the Ogura mountain top, If they knew, would wait For the Emperor's miyuki train To pass once more. Teishinko. Like the Izumi stream Boiling down through the Mika plain, Oh, my heart! When did I see her to love so! Chunagon Kanesuke. The mountain village in Winter Will be lonelier. Oh, to think That every human face and grass Are to die away from me! Minamoto no Muneyuki Ason. how shall I pluck The white chrysanthemum? 'Tis hard To choose one from those With the earliest frost thickly set. Ochikochi no Mitsune. There's nothing more hard Than an early morning parting. Oh, how heartless The morning moon* does appear! Mibu no Tadamine. *Ariake in Original. I thought that it might be The shadow of the morning moon,* But the white snows fall On the yoshino village. Sakanouye no Korenori. *Ariake in Original. The hurdle that the wind built Over the mountain river Is nothing but the maple leaves Not run down. Harumichi no Tsuraki. 'Tis the Spring day With lovely far-away light. Why the flowers must fall With hearts unquiet? Ki no Tomonori. Who shall I make my friend? Even the Takasago pine-tree Could not remain As an old friend of mine. Fujiwara no Okikaze. I know not what one thinks Of me. But at the home The flowers are perfumed In fragrance old and same. Ki no Turayuki. The Summer night will break When the evening scarcely passed, What cloud will the moon Take as her lodging place? Kiyowara no Fukayubu. Over the Autumn field Of white dews, in gust, Lo, the stringless pearls Are scattered away. Bunya no Asayasu. I do not mind of myself To be forgotten by him, But for his own life's sake I have to grieve. Ukon. 'Tis too much to keep seret. (Oh I would My heart were unrevealed like that Of grass-grown One's bamboo bush!) Why do I love her so? Sangi Hitoshi. Alas, my face betrayed The secret of my love. All men ask me why I am so sad. Taira no Kanemori. That I love thee Is known already. Ah, me! I had been thinking that No one would know it. Mibu no Tadami. Didst not thou promise, With sleeves full of parting tears, thy heart Would be safe like Suyeno Matsuyama Where no billow comes? Kiyowara no Motosuke. Oh, to think the sad heart of mine After meeting with thee! No sorrow I had In the olden time. Gonchunagon Atsutada. Oh, if there were no meeting And loving! I should have Nothing to resent, Nothing of myself and others. Chunagon Asatada. There's no one to say Even a word of pity on me. Oh my lover lost! What a misery of my life! Kentokuko. The boatman of the Yura strait Lost his rudder, and knows not How to cross! Oh the way of love! Sone no Yoshitada. My hut with Yaemugura Thickly grown is sad: Here nobody will be seen, But Autumn has come. Yekei Hoshi. A crushed wave I am against the rock, in storm: Oh, these days! What a lonely thought of mine! Minamoto no Shigeyuki. Through the night the Mikakimori guards Burn the fire: Oh, my heart! But the fire will die in day: Oh, my dying thought! Onakatomi Yoshinobu Ason. For thee, I thought, I would not mind about my life: But I pray now to be Given the longest life. Fujiwara no Yoshitaka. How could I tell thee My burning heart? (Ah, my heart burning as under In Ibuki Moxa's sting!) Fujiwara no Sanekata Ason. Day will be followed by The darkness of night when I shall meet thee, And yet I do hate The breaking of dawn. Fujiwara no Michinobu Ason. What a long time To the dawn When I weep through the night, And sleep alone! Mother of Udaisho Michitsuna. To vow for the future long With faith and unforgetfulness would be Too hard. Oh, I pray, To-day, to have my life done! Mother of Gido Sanshi. 'Tis long time now since. The waterfall ceased its voice, But the fame does run, And is to be heard still. Dainagon Kinto. Who knows when I shall die! Oh, for pity's sake, I pray to see thee Once more! Izumi Shikibu. I met him by chance, And I parted from him ere I could tell Who he was. Alas, passedin the cloud The midnight moon! Murasaki Shikibu. (The wind may blow From Arima Hill and Inano bamboo bush.) Ah, passing wind of thy love! But how could one forget thee! Daini no Sanmi. I should not wait for him, But go to sleep. Alas, I have been gazing Upon the moon in deep night Till she begins to fall. Akazome Yemon. 'Tis far away to Ohoye mountain, And to Ikuno plain. I have never stepped In Ama no Hashidate yet. (Alas, no letter I have seen!) Koshikibu no Naishi. 'Tis the eight-folded cherry blossom Of Nara capital of yore: To-day in this nine-folded palace It will shed its perfume. Ise no Osuke. Thou might'st try to cheat me, With the false voice of a bird, But the Ausaka gate Shall not allow thee in. Seisho nagon. Alas, there's no way But to ask one to tell thee That we will try To forget. Sakyo no Tayu Nichimasa. From amid the Uji river the mists fade At early morn, The fisher's net stakes begin to appear, here and there. Gonchunagon Sadayori. From my resentment, in tears My sleeves are drenched. What a shame to ruin my name In such an empty love! Sagami. Be sad with me, Oh, mountain cherry blossom! I have no one Knows my heart but thee. Saki no Daisojo Gyoson. For a short while,—short Like a Spring night dream, in taking Thy arm for my pillow, what a shame To have a bad rumor rise! Suwo no Naishi. In spite of myself, I am Lingering in this world: Ah, what longing For the midnight moon! Sanjo no In. The Mimuro Mountain maple leaves In blowing storm, Weave the blockade For the Tatsuda stream. Noin Hoshi. From loneliness I wander Out of my own home: Lo, 'tis the same everywhere This Autumn eve! Ryosen Hoshi. At eve, By the ashi grass hut, The Autumn gusts pass, calling on The gate-side rice plant leaves. Dainagon Tsunenobu. 'Tis known to the world, Ah me, the fickle waves Of the Takashi strand do drench One's sleeves with spray. Yushi Naishinnoke Kii. On Takasago Mountain The cherry trees are blossoming: The mists from the other hills Shall not rise, I pray. Saki no Chunagon Masafusa. Oh, did I pray The Hatsuse mountain blast, Nay, his heartlessness, to be furious? Nay, I did not! Minamoto no Toshiyori Ason. The sasemo's life is a dew. Ah me! Where's thy promise? Autumn of this year Is passing away. Fujiwara no Mototoshi. Over the expanse of sea I row. Behold the far-away sky, Nay, the billows white In the distance! Hoshoji Nyudo Sakino-kanpaku Dajodaijin. Like a hurrying, rock-hurling mountain stream I wish to be: its double torrents Will meet in the end. Oh the way of love! Shutokuin. By the cry of the plovers That frequent Awazi isle, How many nights art thou awakened, Guard of the Suma gate? Minamoto no Kanemasa. From the rifts of the clouds Drifting abroad in the Autumn wind, What a clear shadow Of the peeping moon! Sakyo no Tayu Akisuko. My heart, I pray, To last long. Ah, this tangle Of the black tresses of mine! Ah, my anxiety of this morn! Taiken Moin no Horikawa. Behold The sky where the cuckoo sung! There remains Only the morning moon. Gotoku Daiji Sadaijin. And I have my life still Under wretchedness of thought, But my own tears alone Under sadness cannot stand. Doin Hoshi. Alas, 'tis the world; There's no way to follow, Even into the deep of a hill The deer's cry I hear. Kotai Kogu no Tayu Toshinari. Were I to linger longer in life, The present days would grow dear again: Oh, now I long for The days I deemed sad in past. Fujiwara no Kiyosuke Ason. All the night long I thought it will never dawn: Even the chink of my chamber door Is heartless to me, not inviting the morn. Junei Hoshi. The moon has nothing to make Me think and cry, But, alas, my own tears alone Do lament and fall. Saigyo Hoshi. The dews of the passing shower Are not yet dried. Lo, the mist rising up Toward the maki leaves, this Autumn eve! Jakuren Hoshi. 'Twas a short one night love At the Naniwa shore. (Short 'twas Like a joint of the shore reed.) Why do I long, exhausting me so? Koka Monin no Betto. Oh, thread of my life, Be torn off now if it must! I fear in longer life My secret would be hard to keep. Shikishi Naishiuno. I might show thee How the Oshima island fishers' sleeves Never change their tints, though wet through. But, alas, tearful sleeves of mine! Inpuku Monin no Osuke. List, the crickets sing! Upon the mat of the frost night, I, my raiment not yet unbound, Have to sleep alone. Gokyogoku Sessho Sakino Dajodaijin. My sleeves are like The wide sea rocks unseen Even at the lowest tide. Nobody would know That their tears never dry. Nijonoin Sanuki. Let my life be so! Oh, to be carried away by the sight Of a fisherman's yawl at the shore, And by his hauling of the net. Kamakura no udaijin. Down Miyoshino the Autumn wind blows, The night is deep; The beating sound of cloth From my mountain home is cold. Sangi Masatsune. Ah, to save the sad world, Dare I attempt! At this Wagatatsu Soma, See my black-robed sleeves! Sakino Daisojo Jiyen. 'Tis not the stormy snow Luring the garden flower, But what is faling fast Is nothing but my own self. Nyudo Sakino Dajodaijin. Ah, my heart pining Like fire heats the salt water In the evening calm of Matsuho shore! Wouldn't my love come? Gonchunagon Sadaiye. The evening breeze blows On the Nara tree stream. To see The Misogi feast might be the sign Of Summer not yet gone. Junii Iyetaka. I prize him, I resent him too, I deem this world miserable. What wandering thought of mine? Gotoba no In. Alas, the palace! See the Shinobu vine On the olden eaves! Oh, what longing For the by-gone days! Juntokuin. Asian Haiku Travelogue. Read about famous old roads and postal stations in Japan. 10/22/2012. Ogura Hyakunin Isshu Poems.

Ogura Hyakunin Isshu Poems 小倉百人一首.

Hyakunin isshu (百人一首) is a traditional anthology style of compiling Japanese waka poetry where each contributor writes one poem for the anthology. Literally, it translates to "one hundred people, one poem [each]". It also refers to the card game of uta-garuta, which uses a deck composed of poems from one such anthology. Ogura Hyakunin Isshu The most famous hyakunin isshu, often referred to as "the" Hyakunin Isshu because no other one compares to its notability, is the Ogura Hyakunin Isshu, compiled by Fujiwara no Teika (or Sadaie, 1162 – 1241) while he lived in the Ogura district of Kyoto, Japan. One of Teika's diaries, the Meigetsuki, says that his son, Fujiwara no Tame'ie, asked him to arrange one hundred poems for Tame'ie's father-in- law, who was furnishing a residence near Mount Ogura; hence the full name of "Ogura Hyakunin Isshu". In order to decorate screens of the residence, Fujiwara no Teika produced the calligraphy poem sheets. In his own lifetime, Teika was well known for other work. For example, in 1200 (Shōji 2), Teika prepared another anthology of one hundred poems for ex-Emperor Go-Toba. This was called the Shōji Hyakushu. © More in the WIKIPEDIA ! source : nekoarena.blog31 box for writing utensils with motive of mount Ogura in autumn 小倉山蒔絵硯箱. Many poems make a reference to a famous place in Japan.

Matsuo Basho at Temple Jojakkoji 常寂光寺 , "Mountain abode at Ogura" 小倉の山院 . Matsuo Basho at Mount Ogura . and Shigure no Matsu 時雨の松 The Pine in Winter Sleet.

北斎百人一首 Hokusai and the 100 Poems told by Nurses 姥がゑとき - 百人一首うばが絵説.

2 - Empress Jito Tenno, Jitō 持統天皇 . Ama no Kaguyama 天の香具山 "Mount of Heaven's Perfume". Mount Kaguyama 香久山 Fragrant Mountain, Fragrant Hill- Nara.

4 - Yamabe no Akahito 山辺赤人 . Tago no Ura 田子の浦 Tago no Ura Bay . Tagonoura, port town, Shimizu, Shizuoka, with a view of Mt. Fuji.

6 - Chuunagon Yakamochi 中納言家持 Kasasagi no hashi かささぎの橋 The Magpie Bridge. stairway bridge in Kyoto, a metaphor for the Milky Way.

8 - Monk Kisen 喜撰法師 64 - GonChunagon Fujiwara no Sadayori 権中納言定頼 (river Ujigawa 宇治の川) . Ujiyama うぢ山 Mount Uji 宇 治山 .

10 - Semimaru 蝉丸 25 - Fujiwara no Sadakata Sanjo Udaijin 三条右大臣 62 - Lady Sei Shonagon 清少納言 . Osaka no Seki 逢坂（あふさ か）の関 Osaka Barrier . Osakayama 逢坂山.

14 - Minamoto no Toru 源融, Kawara no Sadaijin 河原左大臣 . Michinoku みちのく - Mutsu 陸奥 .

16 - Ariwara no Yukihira, Chunagon 中納言行平 . Inaba no yama いなばの山 Mount Inaba 稲葉山, Tottori . The White Rabbit of Inaba 因幡 の白兎 . . Inaba-Manyo History Museum 因幡万葉歴史館 . in honor of Otomo no Yakamochi , compiler of the Manyoshu poetry collection.

19 - Lady Ise 伊勢 20 Motoyoshi Shinno 元良親王 88 - Koka Moin no Betto 皇嘉門院別当 . Naniwa gata 難波潟 Naniwa marsh (Osaka) 難波江 .

24 - Sugawara no Michizane 菅家 Kan Ke . Tamukeyama 手向山 Nara .

葛飾北斎 Katsushika Hokusai 百人一首うばが絵説（100 Poems told By Nurses）

26 - Teishi Ko 貞信公 Fujiwara no Tadahira 藤原忠平. Ogurayama Mine no momijiba Kokoro araba Ima hitotabi no Miyuki matanan. If the maple leaves On Ogura mountain Could only have hearts, They would longingly await The emperor's pilgrimage.

27 - Chunagon Kanesuke 中納言兼輔 Fujiware no Kanesuke Mika no Hara みかの原 and River Izumigawa 泉川 Flows into Kizugawa 木津川 in Kyoto Fujiwara no Kanesuke (877—933) © More about Kanesuke in the WIKIPEDIA ! - Plain Mika no Hara, Izumigawa, Kyoto.

31 - Sakanoue no Korenori 坂上是則 94 - Sangi Fujiwara no Masatsune 参議雅経 Yoshino no Sato 吉野の里 - Miyoshi no Yama みよし野の 山 . Yoshinoyama - 吉野山 .

34 - Fujiwara no Okikaze 藤原興風 Takasago no Matsu 高砂の松 Pine at Takasago . The Takasago Legend 高砂伝説 .

42 - Kiyohara no Motosuke 清原元輔 Sue no Matsuyama 末の松山 - Iwate, Hachinohe . Michinoku 陸奥 .

46 - Sone no Yoshitada 曽禰好忠 Yura no to 由良のと - Yura no Minato 由良の湊 . River Yuragawa 由良川 in Tanba .

51 - Fujiwara no Sanekata Ason 藤原実方朝臣 Ibuki いぶき - Mount Ibuki 伊吹山, Shiga . Mount Ibuki yama 伊吹山 . . 藤中将実方 Tono Chujo Sanekata . His exile in Kasajima 笠島.

58 - Daini no Sanmi, Lady Kataiko 大弐三位 Arimayama ありま山 . Arima Tosen Shrine 有馬 湯泉神社 Toosen Jinja .

60 - Koshikibu no Naishi 小式部内侍 Ooeyama 大江山 Oeyama, the Ikuno plain いく野-生野 and Amanohashidate . Ama no Hashidate 天橋 立, Wakasa .

61 - Lady Ise no Osuke 伊勢大輔 98 - Junii Fujiwara no Ietaka 従二位家隆 Nara no Miyako 奈良の都 . Nara 奈良 the ancient capital .

69 - Monk Noin Hoshi 能因法師 (Nooin Hooshi) . Mimuroyama 三室の山- 御室山 Mount Mimuro . Mount Miwa in Nara and Tatsutagawa 龍田の川 - (see Nr. 17)

72 - Lady Yushi Naishinno-ke no Kii 祐子内親王家紀伊 Takashi no Hama 高師の浜 - 高師浜 At Osaka Bay, Takaishi town 大阪府高石 市. - Takashi no Ura 高師の浦 -

74 - Minamoto no Toshiyori Ason 源俊頼朝臣 Hatsuse はつせ Hase . Temple Hasedera 長谷寺 Nara .

90 - Inpu Moin no Taifu 殷富門院大輔 Ojima 雄島 in Miyagi, Matsushima . Matsushima 松島 .

95 - Abbot Saki no Daisojo Jien 前大僧正慈円 比叡山にすむこと . Mount Hiei, Hieizan 比叡山, Hiei-zan .

97 - GonChunagon Sadaie 権中納言定家 Fujiwara no Sadaie, Fujiwara no Teika Matsuho no Ura まつほの浦 - 松帆の浦 at Awaji Island 淡 路島北端の松帆崎 . Awaji island 淡路島 . Text in Japanese and English - Virginia University Tr. by Clay MacCauley source : etext.lib.virginia.edu. Sources of the Texts and Images source : hyakunin/sources. A Hundred Verses from Old Japan translated by William N. Porter (1909) English only source : www.sacred-texts.com. One Hundred Poets in One Hundred Poems with intensive explanations - bilingual source : www.heliam.net. Pictures of the Heart: The Hyakunin Isshu in Word and Image Joshua S. Mostow source : googleusercontent.com. One Hundred Poets, One Poem Each: A Translation of the Ogura Hyakunin Isshu Peter McMillan. David Bull's 'Hyakunin Isshu' Woodblock Print Series - "Hyakunin Issho" "I carved and printed each one using exactly the same techniques that were used to create the original book in 1775. For a master reference, I used a copy in the possession of the Toyo Bunko, a research library in Tokyo, whose staff were most helpful, and to whom I am grateful for permission to reproduce this work." source : woodblock.com/poets. 100 Poems - 100 Poets Steve Mangan (Köy Deli), Jane Reichhold annotated translations source : 100 poems-100 poets.blogspot.jp. The wonderful worlds of 100 waka For 1,500 years, people in Japan have being writing poems in lines of 5-7-5-7-7 syllables each. Even today they're a part of daily life — and especially at New Year's, the role played by the revered 'Hyakunin Isshu' collection often becomes decidedly unpoetic . . . By STUART VARNAM-ATKIN Explanations and some translations . The wonderful worlds of 100 waka . All in Japanese, info about the poets source : ja.wikipedia.org. All in Japanese, explanations about the poems source : kazuchan.

Fujiwara no Teika 藤原定家 also known as Fujiwara no Sadaie or Sada-ie, (1162 – September 26, 1241) a Japanese poet, critic, calligrapher, novelist, anthologist, scribe, and scholar of the late Heian and early Kamakura periods. © More in the WIKIPEDIA ! Fujiwara no Teika and the Four Seasons.

According to his diary MEIGETSUKI 明月記. kachoo waka 花鳥和歌各十二首 Twelve-Month Poem Series on Flowers and Birds.

散る花を 追ひかけて行く 嵐かな chiru hana o oikakete yuku arashi kana. chasing after the falling blossoms, the tempest. Posted by Gabi Greve at 10/22/2012. 7 comments: The wonderful worlds of 100 waka For 1,500 years, people in Japan have being writing poems in lines of 5-7-5-7-7 syllables each. Even today they're a part of daily life — and especially at New Year's, the role played by the revered 'Hyakunin Isshu' collection often becomes decidedly unpoetic. Just how much more becomes especially evident at New Year’s, which is to families in Japan the time of year most akin to the Carters’ gathering last week. Then, one hyakunin isshu collection in particular — the overwhelmingly best-known “Ogura Hyakunin Isshu” anthology of 100 poems compiled in Kyoto’s Ogura district by Fujiwara no Teika (or Sadaie, 1162-1241) — comes prominently into play, and especially in the interactive parlor game (which may also be a sport) called uta-garuta. In the dynamic competitive version of uta-garuta called kyogi-karuta, demure young 21st-century ladies in kimonos fling themselves at cards and scatter them across the tatami. Oddly, too, this has a lot in common with sumo, another ancient form of entertainment which stipulates formal dress (un-dress in the latter case), respect for the opponent, strict etiquette, no arguing with the ref and a ranking system — and in which success can hinge on moments of split-second action when suddenly everything turns rough and nasty. In terms of speed, kyogi-karuta’s right up there with kendo.

Waka by. Fujiwara no Teika 藤原定家. maki no to ni tataku kuina no akebono ni hito ya ayame no noki no utsuri ka. "At dawn I heared a knock at the door, but when I opened there was nobody, just the voice of a water rail outside."

この宿は水鶏も知らぬ扉かな kono yado wa kuina mo shiranu toboso kana. this lodging has a door not even known to the water rail . Discussion is HERE. Ashiki no yama no konure no hoyo torite kazashitsuraku wa chitose hoku to so. Taking the mistletoe from the top of the mountain and placing it in my hair, wanting to celebrate a thousand years. Oomoto no Yakamochi. Tr. Haruo Shirane.

Fujiwara no Toshiyuki 藤原敏行. aki kinu to me ni wa sayaka ni miene domo kaze no oto nizo odorokaenuru. Autumn has come Without realizing clearly With eyes, however, The sound of wind Surprises us. and Matsuo Basho.

秋来にけり耳を訪ねて枕の風 aki ki ni keri mimi o tazunete makura no kaze. autumn has come - the wind has come to visit my ear at the pillow. Onihishigitei, Style of Demon-Quelling Force. Onihishigitei is the style of demon-quelling force, and it is characterized by its “strong or even vulgar diction.” (Brower, p. 406) This style refers to poems whose “imagery or treatment conveys an impression of violence. Such poems are found in particular in Book XVI of Man’yoshū." (Brower and Miner, p. 247) Below is an excerpt from Fujiwara Teika's Maigetsusho to illustrate this style: Of the twelve examples of the demon-quelling style in Teika Jittei (“Teika's Ten Styles”), the following version of a poem in Man'yoshu is the most 'violent' (Man'yoshu, 4:503; also, Shinkokinshu, 10:911): Kamikaze ya Breaking off the reeds Ise no hamaogi That grow along the beach at Ise Orishikite Of the Divine Wind, Tabine ya suran Does he spread them for his traveler's bed Araki hamabe ni There on the rough sea strand?

MORE by Chen-ou Liu, 劉鎮歐 . http://neverendingstoryhaikutanka.blogspot.jp/2013/05/to-lighthouse-onihishigitei-style-of.html.

法師出て嫌はるるなり歌がるた hooshi dete kirawaruru nari utagaruta. the priest-poet came up - I hate it, I hate it, this poetry trump.

. Awano Seiho 阿波野青畝

In the Ogura Hyakunin Isshu card game, there are quite a few hooshi 法師 priests. Sometimes a special game is played, the "boozu meguri 坊主め くり". If you draw the card of one of the priests, you have to perform some spacial tricks or have your face painted black with ink. That is why the hooshi - boozu card is not well liked. . MORE about hanafuda and card games . One Hundred Poets Digital Collection, part of The University of British Columbia Library Digital Collections.