“Hyakunin Isshu” – the Most Famous Anthology of Poems 2018.11.1(Thu) – 2019.５.12(Sun)

Total Page：16

File Type：pdf, Size：1020Kb

“Hyakunin Isshu” – the most famous anthology of poems 2018.11.1(Thu) – 2019.５.12(Sun) “Hyakunin Isshu” (One Hundred Poets, One Poem Each) – is a famous anthology of Japanese Waka poems. It is a collection of one hundred original poems spanning one hundred poets. However, the one edited by Fujiwara no Teika (1162 – 1241) in the 13th century Kamakura period became so popular that Teika’s edition has been simply called “Hyakunin Isshu” since then. Teika’s edition is also called “Ogura Hyakunin Isshu”, as it is said that Teika chose them in his cottage at the foot of Mt. Ogura, which is located near this museum. Saga Arashiyama is the home of “Hyakunin Isshu” which gave a great influence on Japanese culture, even on the modern culture such as manga or anime. In this exhibition, you can learn its history and 100 poems with pretty dolls representing all poets. All the exhibits have English translation. We hope you enjoy the world of “Hyakunin Isshu.” Admission Fee: Individual Group (over 20) Adults (> 19) 900 800 High School Students (16 to 18) 500 400 Elementary & Junior High School Students 300 250 (7 to 15) A person with disability and an attendant 500 400 Children under the age of 7 are free Including admission fee for the special exhibition Membership: Annual Fee 3,000 yen One annual passport per member(free entrance for SAMAC) Discount for paid events at SAMAC Free English Guide Tour for a group (about 30min) Reservation required in advance Access: Nice 3 minutes walk from Togetsu bridge, next to the Luxury Collection Suiran hotel Close to Chou En Lai Monument and Hogoin Temple 5 minutes walk from Randen Arashiyama Station 15 minutes walk from JR Saga Arashiyama Station / Hankyu Arashiyama Station 11 Sagatenryuji-Susukinobabacho 11, Ukyo-ku, Kyoto 616-8385 SAMAC Contact: [email protected] +81-75-882-1111 (English speaker available) .

Copy Link

Recommended publications

The Hyakunin Isshu Translated Into Danish
The Hyakunin Isshu translated into Danish Inherent difficulties in translation and differences from English & Swedish versions By Anna G Bouchikas [email protected] Bachelor Thesis Lund University Japanese Centre for Languages and Literature, Japanese Studies Spring Term 2017 Supervisor: Shinichiro Ishihara ABSTRACT In this thesis, translation of classic Japanese poetry into Danish will be examined in the form of analysing translations of the Ogura Hyakunin Isshu. Difficulties will be surveyed, and ways of handling them will be suggested. Furthermore, differences between the Danish translations and those of English and Swedish translations will be noted. Relevant translation methods will be presented, as well as an introduction to translation, to further the understanding of the reader in the discussion. The hypothesis for this study was that when translating the Hyakunin Isshu into Danish, the translator would be forced to make certain compromises. The results supported this hypothesis. When translating from Japanese to Danish, the translator faces difficulties such as following the metre, including double meaning, cultural differences and special features of Japanese poetry. To adequately deal with these difficulties, the translator must be willing to compromise in the final translation. Which compromises the translator must make depends on the purpose of the translation. Keywords: translation; classical Japanese; poetry; Ogura Hyakunin Isshu; Japanese; Danish; English; Swedish ii ACKNOWLEDGEMENTS First of all, I would like to thank both of my informants for being willing to spend as much time helping me as they have. Had they not taken the time they did to answer all of my never- ending questions, surely I would still be doing my study even now.
[Show full text]
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]
6489 a Paper Panel Painted in Ink and Colour on a Gold Ground with Scenes from Ise Monogatari (The
6489 A paper panel painted in ink and colour on a gold ground with scenes from Ise Monogatari (the Tales of Ise) Japan Edo period 18th century Dimensions: H.17¾” x W.14½” (44.75 cm x 36.5 cm) This painting depicts two connected scenes from the 10th century literary classic, the Tales of Ise, the lower half illustrating Episode 23 and the upper half Episode 24. The ‘Tale of Ise' (Ise monogatari), 10th century is one of the most important texts of Japanese literature. It is a loose collection of medieval Japanese poems with brief prose introductions. This anonymous work is the oldest in the uta monogatari, or “poem tale,” genre. Although composed mostly of waka, a Japanese poetic form, the prose prefaces to these poems give the work a unique flavour, anticipating later developments in Japanese literature. Most of the poems deal with the amorous exploits of an unnamed lover, who is traditionally, identified as Ariwara no Narihira (825-80), one of the six “saints” of Japanese poetry. Ever since the 11th century, when the ‘Tales of Ise' came to be seen as a kind of cultural icon, generations of scholars and writers have been puzzling over the numerous problems the text poses. While some may read the episodes as semi-biographical account of the romantic pursuits of Ariwara no Nahira; others have hailed the text as expressions of ‘true Japanese spirit'. There are 209 poems comprising the 125 sections of the work, and each section is a clever and elegant meditation on love outside of marriage.
[Show full text]
Inventing the New Through the Old: the Essence Of
EARLY MODERN JAPAN SPRING 2001 Inventing the New other is the Song scholar Lin Xiyi’s ᨋᏗㅺ2 annotations of the Zhuangzi, which stress that the Through the Old: entire Zhuangzi is a parable. While scholarly The Essence of Haikai opinion differs on which factor or factors played and the Zhuangzi a key role behind the phenomenon, they agree Peipei Qiu that the Danrin’s enthusiasm for the Zhuangzi lies primarily in imitating the gugen in the work.3 Asian Studies Vassar College Introduction meaning, according to Burton Watson, is words put into the mouth of historical or fictional persons to make them more compelling. The Zhuangzi scholars The latter half of the seventeenth century have also used the term to refer to the general writ- witnessed an innovative phenomenon in Japanese ing style of the text. Watson has rendered the haikai େ⺽ (comic linked verse) circles. A meaning of the term into “imported words” in his group of haikai poets who called themselves the translation of the Zhuangzi. The title of Konishi Danrin ⺣ᨋ enthusiastically drew upon the Jin’ichi’s ዊ⷏↟৻ study on Basho and Zhuangzi’s Daoist classic Zhuangzi ⨿ሶ (The works of gugen, “Basho to gugensetsu” ⧊⭈ߣኚ⸒⺑ Master Zhuang), setting off a decade-long trend [Nihon gakushiin kiyo ᣣᧄቇ჻㒮♿ⷐ no. 18 of using the Zhuangzi in haikai composition. In (1960) 2 and 3] is translated into “Basho and assessing the causes and significance of this Chuang-tsu’s Parabolical Phraseology.” The term in phenomenon previous studies give much atten- modern Japanese and Chinese is often translated as tion to the intellectual, philosophical and reli- “fable,” “apologue,” or “parable,” but these transla- gious climates, noting two major factors that in- tions are not suitable to the present study.
[Show full text]
In This Ancient House Analysis
In This Ancient House Music by Ruth Morris Gray (b. 1961) Japanese text Japanese text: Poem number 100 from 100 poems by 100 poets (Ogura Hyakunin Isshu) attributed to Emporer Juntuko. This particular English translation which is used as part of the song text is found in several places on the internet, but most significantly at the University of Virginia Library. IPA and Text /mo-mo-ßi-ki ja/ Momoshiki ya /fu-ru-ki no-ki-ba no/ Furuki nokiba no /ßi-no-bu ni mo/ Shinobu ni mo /na-o a-ma-ri a-ru/ Nao amari aru /mu-ka-ßi na-ri k´-ri/ Mukashi nari keri Translation Momoshiki ya Furuki nokiba In this ancient house, no Paved with a hundred stones, Shinobu ni mo Ferns grow in the eaves; Nao amari aru But numerous as they are, 1 Mukashi nari My old memories are more. keri 1 University of Virginia Library Japanese Text Initiative "Ogura Hyakunin Ishu". http://etext.virginia.edu/japanese/hyakunin/intro.html. (accessed May 26, 2009). © Copyright 2019 Elizabeth Pauly. All rights reserved. Background The Japanese text is a poem in the "tanka" form – a five line poem of 31 syllables (5, 7, 5, 7, 7). More information about the source of the poetry is included below. There is a pun using the word "Shinobu" which means both "a fern called shinobu" and "to look upon the past".2 Recordings Full recording available at https://youtu.be/Bw9vo_Cl0tw. I believe that this is the promotional studio recording. All parts are very easy to hear.
[Show full text]
Recent Scholarship on Japan
Recent Scholarship on Japan Recent Scholarship on Japan: Classical to Contemporary Edited by Richard Donovan Recent Scholarship on Japan: Classical to Contemporary Edited by Richard Donovan This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Richard Donovan and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-4325-0 ISBN (13): 978-1-5275-4325-6 TABLE OF CONTENTS Introduction: Classical to Contemporary .................................................. vii About the Contributors ............................................................................... x Section One: Classical Literature and Its Reconfiguration How to Create a Legend? An Analysis of Constructed Representations of Ono no Komachi in Japanese Medieval Literature ................................. 2 Karolina Broma-Smenda Rewriting Her History: Enchi Fumiko’s Namamiko Monogatari as a Feminist Historiographical Metafiction ............................................. 23 Ka Yan Lam Section Two: Post-war and Contemporary Literature Life After Death? Writing the Alienated Self in Post-war Japan ............. 38 Mark Williams Circle
[Show full text]
On Recording Waka Poems on Kaishi Sheets of Paper. the Example of the Shokukokinshū Kyōen Waka Collection
DOI: 10.24411/2658-6789-2019-10009 On Recording Waka Poems on Kaishi Sheets of Paper. The Example of the Shokukokinshū kyōen waka Collection M.V. TOROPYGINA Abstract. The article analyzes the rules for recording poems on kaishi sheets of paper by poets during or for the poetic events. The main source of the study is the recording of a poetic collection Shokukokinshū kyōen waka (1266) composed of poems read during a banquet in honor of the completion of the work on the imperial anthology Shokukokinshū. The Gunshō Ruijū publication was used as a source for the investigation, as this publication preserves the principles of recording poems on kaishi sheets. The record of Shokukokinshū kyōen waka is analyzed in context of the karon texts of the time – provisions regarding the recording of poems on sheets of kaishi by Fujiwara no Kiyosuke, Juntoku-in, Fujiwara no Teika. Keywords: poetry, karon, Shokukokinshū kyōen waka, imperial anthology, Gunshō Ruijū, Fujiwara no Kiyosuke, Juntoku-in, Fujiwara no Teika. The poetic collection Shokukokinshū kyōen waka (続古今集竟宴和歌 “Japanese songs composed at the banquet in honor of the compilation of the Shokukokinshū”)1 celebrates the compilation of the Shokukokinshū (続古今集 “Continuation of the collection of old and new Japanese songs”) 1 For the study, several publications and manuscript of the monument were used. The main source is the publication in the Gunshō Ruijū. The edition in open acсess at the National Diet Library digital database [Shokukokinshū kyōen waka (c)]; also [Shokukokinshū kyōen waka 1989]. The undated manuscript is published by the Waseda University [Shokukokinshū kyōen waka (a)].
[Show full text]
The Basic Structure of Tanka Prose
The Elements of Tanka Prose by Jeffrey Woodward Introduction: Basic Definition The marriage of prose and waka, the forerunner of modern tanka, occurred early in the history of Japanese literature, from the 8th to 11th centuries, with rudimentary beginnings in the Man’yōshū and later elaboration as an art in the Tales of Ise and Tale of Genji. One aspect of the proliferation of prose with waka forms is that practice moved far in advance of theory. Japanese criticism to this day lacks consensus on a name for this hybrid genre. The student, instead, is met with a plethora of terms that aspire to be form-specific, e.g., preface or headnote (kotobagaki), poem tale (uta monogatari), literary diary (nikki bungaku), travel account (kikō), poetic collection (kashū), private poetry collection (shikashū) and many more [Konishi, II, 256-258; Miner, 14-16] The first problem one must address, therefore, in any discussion of tanka plus prose is terminology. While Japanese waka practice and criticism afford no precedent, the analogy of tanka with prose to the latter development of haibun does. The term haibun, when applied to a species of literary composition, commonly signifies haiku plus prose written in the ―haikai spirit.‖ It would not be mere license to replace haibun with haiku prose or haikai prose as proper nomenclature. Upon the same grounds, tanka prose becomes a reasonable term to apply to literary specimens that incorporate tanka plus prose – a circumstance which may lead one to inquire, not unreasonably, whether tanka prose also indicates prose composed in the ―tanka spirit.‖ Fundamental Structure of Tanka Prose Tanka prose, like haibun, combines the two modes of writing: verse and prose.
[Show full text]
The Relationship Between Nature and Human Feelings in Heian Waka
Rethinking Nature in Contemporary Japan From Tradition to Modernity edited by Bonaventura Ruperti, Silvia Vesco and Carolina Negri The Relationship between Nature and Human Feelings in Heian waka Yukiko Hirano (Professor Emerita Ochanomizu University, Japan) Abstract Nature and human feelings in Heian waka are expressed simultaneously by kakekotoba. Waka was composed and exchanged in daily life like greeting cards today. Waka poems were writ- ten on strips of paper and presented, often tied to flowers or branches of plants in season. It was natural that the waka had expressions of those natural things. Kakekotoba is essential for the waka, containing two meanings in one sequence of kana characters, one meaning in the context of nature and the other in that of human feelings. Summary Introduction: Nature in Early Japanese Poetry. – 1 Treating Nature for Itself. – 2 Ancient Equivalent of Today’s Greeting Cards. – 3 Kakekotoba, the Most Important Art In Heian Waka Composition. – 4 Two Illustrations of Kakekotoba. – Conclusion. Keywords Kakekotoba. Kokinwakashū. Kana letters. Atsutada. Takamitsu. Tenth century. Introduction: Nature in Early Japanese Poetry Japanese waka 和歌 poems are full of expressions relating to natural scen- ery, such as mountains, rivers, lakes and the seashore, and to plants and animals, such as trees, flowers, birds, even insects like crickets and cica- das. I recently read Earl Miner’s An Introduction to Japanese Court Poetry (Miner 1968) and was enlightened to discover that treating nature for itself, which is common in early Japanese poetry, did not come into English literature until the eighteenth century. Miner wrote “It was not nature that was cursed by a fall in some distant paradise.
[Show full text]
Nature And/Or Poetry? Based on “A Poem of One Hundred Links Composed by Three Poets at Minase” (Minase Sangin Hyakuin, 1488)
Nature and/or poetry? Based on “A Poem of One Hundred Links Composed by Three Poets at Minase” (Minase Sangin Hyakuin, 1488) Elena Mikhailovna DYAKONOVA Iio Sogi is the best known renga master of Japan. He was of low origin (which is said by every encyclopedia and biographic essay); his family was in the service of the Sasaki clan. Some sources say the poet’s father was a Sarugaku Noh teach- er, while others call him a Gigaku master; and his mother was born to an insignificant samurai clan, Ito. The image of Sogi – an old man, a traveler with a beard wearing old clothes and living in a shack – looks hagiographic and conven- tional Zen, rather than something real. Renga (linked-verse poetry) is a chain of tercets and distiches (17 syllables and 14 syllables), which is sometimes very long, up to a hundred, a thousand, or even 10,000 stanzas built on the same metric principle, in which a stanza com- prising a group of five syllables and a group of seven syllables (5-7-5 and 7-7) in a line, is the prosodic unit. All those tercets and distiches, which are often com- posed by different authors in a roll call, are connected by the same subject (dai), but do not share the narrative. Every tercet and distich is an independent work on the subject of love, separation, and loneliness embedded in a landscape and can be easily removed from the poem without damaging its general context, although it is related to the adjoining stanzas. Keywords: renga, poetry, Sogi, Minase Sangin Hyakuin, Emperer Go-Toba On the 22nd day of the 1st moon cycle of the 2nd year of the Chokyo era (1488), three famed poets – renga master Sogi (1421–1502) and his pupils, Shohaku (1443–1527) and Socho (1448–1532), – gathered by the Go-Toba Goeido pavilion, the Minase Jingu Shinto sanctuary in Minase between Kyo- to and Osaka, to compose a poem of one hundred links commemorating the 250th death anniversary of Emperor Go-Toba.
[Show full text]
Poetry: the Language of Love in Tale of Genji
Poetry: The Language of Love in Tale of Genji YANPING WANG This article examines the poetic love presented by waka poetry in the Tale of Genji. Waka poetry comprises the thematic frame of Tale of Genji. It is the language of love. Through observation of metaphors in the waka poems in this article, we can grasp the essence of the poetics of love in the Genji. Unlike the colors of any heroes’ and heroines’ love in other literary works, Genji’s love is poetic multi-color, which makes him a mythopoetic romantic hero in Japanese culture. Love in Heian aristocracy is sketched as consisting of an elaborate code of courtship which is very strict in its rules of communion by poetry. Love is a romantic adventure without compromise and bondage of morality. The love adventure of Genji and other heroes involves not only aesthetic Bildung and political struggle but also poetic production and metaphorical transformation. The acceptance of the lover’s poetic courtship creates an artistic and romantic air to the relations between men and women. Love and desire are accompanied by a ritual of elegance, grace and a refined cult of poetic beauty. There are 795 poems (waka) in the Genji. They are used in the world of the Genji as a medium of interpersonal communication, as a means to express individual emotions and feelings, as an artistic narrative to poeticize the romance and as an artistic form to explore the internal life of the characters.1 Nearly 80 percent (624) of these 795 poems are exchanges (zotoka), 107 are solo recitals and 64 are occasional poems.2
[Show full text]
The Methodological Development of Honka-Dori in Medieval Waka, and the Formation of a Quotation Database
Aesthetics No.15 (2011) The Japanese Society for Aesthetics / 61 The Methodological Development of Honka-dori in Medieval Waka, and the Formation of a Quotation Database TSUCHIDA Kosuke Osaka University, Osaka Introduction In reviewing modern literary theory, it seems evident that a belief in ‘originality’ has already been lost. Since language helps convey the essence of shared experiences, imprints of the past are certainly engraved, in some way, on whatever is written. For this reason, the act of intentionally quoting something written in the past tends to be evaluated positively. On the other hand, when one tries to create a work by, in part, quoting something, there is in the process a constant worry or apprehension as to why this new work is being created. However, in the traditional Japanese poetry of waka, such quotations were both generally and actively used. A piece of waka poetry comprises only 31 syllables, divided across five lines of text containing five, seven, five, seven and seven syllables; within those lines, groups of words are often quoted from older works, unaltered. The quoted old waka poems are called honka, and the act of deliberately quoting the words is called honka-dori or ‘taking the honka’. These two factors—namely, quoting the excellent works of old poets and creating value in one’s own work—converge in the conscious act of taking honka. The style of honka-dori came to the fore during the Shin kokin period, between the late 12th and early 13th centuries. The central figure to establish this style was Sadaie FUJIWARA, who was known as Teika (1162–1241).
[Show full text]