DOCSLIB.ORG

100 Poems from the Japanese Free Download

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
100 Poems from the Japanese Free Download 100 POEMS FROM THE JAPANESE FREE DOWNLOAD Kenneth Rexroth | 140 pages | 01 Feb 1964 | New Directions Publishing Corporation | 9780811201810 | English, Japanese | New York, United States Ogura Hyakunin Isshu His work became celebrated for its freshness and vitality during the time of Fujiwara no Teika, who compiled the 100 Poems from the Japanese Isshu, and was increasingly represented in imperial anthologies. Spring comes. Better translations than I've come across before. I suspect that without this book, the verse of many mid-century American poets—Gary Snyder, Robert Bly, and James Wright, for example—would not have been quite so effective. This is the first time I've read Japanese poetry and I must say that it's certainly enchanting. Nearly half of the poems were penned by women. Deep in the night, the deer Cry out beyond the edge of dreams. An old pond - The sound Of a diving frog. Pretty short. Daughter of Toshitaka. Prince Kentoku. Though the tanka are by nature brief, you can feel the emotion and imagine what prompted the authors to write them. How can I find my girl, Wa Lots of white space here for medicinal purposes. During this transition a Ronin Gallery representative will contact you to complete all orders placed online. Want to Read Currently Reading Read. The Lady Ise no Osuke. The collection includes a 100 Poems from the Japanese epigraph from Murasaki's Tale of Genji. The influence of Hyakunin Isshu was particularly extended through the card game based on the collection, called uta karuta, played especially at New Year's. It is true i love, but the rumor of my love had gone far and wide. Like the salt seaweed, burning in the evening calm. 100 Poems from the Japanese Japanese, the same word can have multiple meanings based on context. It also goes in to the different styles of Japanese poetry beyond haiku hokku including dodoitsu and the tanka, among a couple others. Here comes spring, now the flower blooms. Ama-no- means "heavenly". Kenneth Rexroth is more temperate: "[It] is a very uneven collection. However, they are all in the short poem style tanka. It contains some of the most mannered poetry of classical Japan, but it also contains some of the best. Have you heard? There is very little else known about him. Lady Horikawa. I loved the simplicity in the topics, and the relatability of the poetry even after surviving hundreds of years. In this world of ours, There is no way to float above pain. That requires even more perfection perhaps. Seeing the white robes hung on Mount Kaguyama, the Empress Jitoh imagined the beautiful scenery was like a work of heavenly ladies, for the legend said that the Mount of Ama-no-Kaguyama in Nara Prefecture had fallen from the heaven. I know that feeling As the mists rise in the dawn From Uji River, one by one, The stakes of the nets appear, Stretching 100 Poems from the Japanese into the shallows. And like the blazing Water, I too am burning. View all 100 Poems from the Japanese comments. By the wind storm's blast From mimuro's mountationslopes Maples Leaves are torn which turn tatsuta river 100 Poems from the Japanese a rich brocade. Ryosen Hoshi gives a more melancholy, almost Buddhist, tone implying that the world around him is declining into winter and possibly, metaphorically declining in a general Buddhist sense. The incident was successful, and he later firmed the foundation of long-lasting Japanese Imperial reign. It's trimmed of superfluous language, and elegant in its depiction of loss, and how loss of love can hold as much beauty as love itself. He belongs to the Thirty-Six Immortal Poets. A friend let me borrow this short collection, and for a couple of weeks I practically sle "We were together Only a little while And we believed our love Would last a thousand years. I go out of the darkness Onto a 100 Poems from the Japanese of darkness Lit only by the far off Moon on the edge of the mountains Izumi Shikibu Or, As certain as color Passes from the petal, Irrevocable as flesh, The gazing eye falls through the world. It seems to fit Arata. This morning my thoughts Are as disordered As my black hair. Haiku consist of 17 on, which are different from our English syllables. To see what your friends thought of this book, please sign up. Let none known. The Lady Sagami. God bless cranky well read farts like Rexroth and major personal library uphea Kenneth Rexroth Kenneth Rexroth, what a crotchety belle-lettrist. The most famous poets through the late Heian period in Japan are represented. Who is still alive, when I have grown so old, that I can call my friends? Nov 07, Hilary rated it it was amazing. Going over the fields of murasaki grass that shimmer crimson, going over the 100 Poems from the Japanese marked as imperial domain, will the guardian of the fields not see you 100 Poems from the Japanese you wave your sleeves at me? Perfectly austere. Japan has a long history of jiseior death poems. I decided to buy this book because of an anime series in which some of these poems where sung and I liked the translations. This wiki All wikis. The themes are universal. Gust of wind carries leaves from the trees, giving the name of storm to the 100 Poems from the Japanese wind. .
Load more

Recommended publications
  • Rhyming Pattern Selection in Japanese Short Poetry
    Original Paper________________________________________________________ Forma, 21, 259–273, 2006 Statistical Prosody: Rhyming Pattern Selection in Japanese Short Poetry Kazuya HAYATA Department of Socio-Informatics, Sapporo Gakuin University, Ebetsu 069-8555, Japan E-mail address: [email protected] (Received August 5, 2005; Accepted August 2, 2006) Keywords: Quantitative Poetics, Rhyme, HAIKU, TANKA, Bell Number Abstract. Rhyme patterns of Japanese short poetry such as HAIKU, SENRYU, SEDOKAs, and TANKAs are analyzed by a statistical approach. Here HAIKU and SENRYU are poems composed of only seventeen syllables, which can be segmented into five, seven, and five syllables. As rhyming both head and end rhymes are considered. Analyses of sampled works of typical poets show that for the end rhyme composers prefere the avoided rhyming, whereas for the head rhyme they compose poems according to the stochastic law. Subsequently the statistical method is applied to a work of SEDOKAs as well as to those of TANKAs being written with three lines. Evaluation of the khi-square statistics shows that for a certain work of TANKAs the feature being identical to that of HAIKU is seen. 1. Introduction Irrespective of languages, texts are categorized into proses and verses. Poems, in general, take the form of the latter. Conventional poetics has classified poems into a variety of forms such as a lyric, an epic, a prose, a long, and a short poem. One finds that in typical European poetry a sound on a site in a line is correlated to that on the same site in another line in an established form. Correlation among feet of lines is termed end rhyme in contrast to the head rhyme for the one among heads of lines (SAKAMOTO, 2002).
    [Show full text]
  • UC Berkeley Electronic Theses and Dissertations
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki Permalink https://escholarship.org/uc/item/97g9d23n Author Mewhinney, Matthew Stanhope Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki By Matthew Stanhope Mewhinney A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Japanese Language in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Alan Tansman, Chair Professor H. Mack Horton Professor Daniel C. O’Neill Professor Anne-Lise François Summer 2018 © 2018 Matthew Stanhope Mewhinney All Rights Reserved Abstract The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki by Matthew Stanhope Mewhinney Doctor of Philosophy in Japanese Language University of California, Berkeley Professor Alan Tansman, Chair This dissertation examines the transformation of lyric thinking in Japanese literati (bunjin) culture from the eighteenth century to the early twentieth century. I examine four poet- painters associated with the Japanese literati tradition in the Edo (1603-1867) and Meiji (1867- 1912) periods: Yosa Buson (1716-83), Ema Saikō (1787-1861), Masaoka Shiki (1867-1902) and Natsume Sōseki (1867-1916). Each artist fashions a lyric subjectivity constituted by the kinds of blending found in literati painting and poetry. I argue that each artist’s thoughts and feelings emerge in the tensions generated in the process of blending forms, genres, and the ideas (aesthetic, philosophical, social, cultural, and historical) that they carry with them.
    [Show full text]
  • Kosztolányi Dezső Japán Versfordításai
    Eötvös Loránd Tudományegyetem Bölcsészettudományi Kar DOKTORI DISSZERTÁCIÓ KOLOZSY-KISS ESZTER KOSZTOLÁNYI DEZSŐ JAPÁN VERSFORDíTÁSAI Irodalomtudományi Doktori Iskola Vezetője: Dr. Kulcsár Szabó Ernő egyetemi tanár Összehasonlító Irodalomtudomány Program Vezetője: Dr. Szegedy-Maszák Mihály egyetemi tanár A bizottság elnöke: Dr. Györffy Miklós CSc., egyetemi tanár Hivatalosan felkért bírálók: Dr. Angyalosi Gergely CSc. Dr. Székács Anna PhD. A bizottság titkára: Dr. Kappanyos András PhD. A bizottság további tagjai: Dr. Hidasi Judit CSc., egyetemi tanár Dr. Ferber Katalin PhD. Témavezető: Dr. Szegedy-Maszák Mihály MHAS., egyetemi tanár Budapest, 2010 1 I. FEJEZET KOSZTOLÁNYI DEZSŐ, A FORDÍTÓ Bevezetés „Fordítani nem lehet, csak átültetni, újrakölteni.”1 Az irodalom művelőinek, a költőknek, íróknak fontos szerep jut a társadalomban, s pontosan meg tudjuk határozni az irodalomtörténész és az irodalomkritikus helyét is. A műfordító azonban mintha kimaradna e felsorolásból. A közvélemény – melyet semmiképpen sem ajánlatos értékformáló mérceként beállítani – még a mai napig is azt a véleményt osztja, miszerint annak a műfordítónak, aki prózát fordít, egyben írónak is kell lennie, és nem nevezhető „igazi” műfordítónak az, aki lírát annak ellenére fordít, hogy önálló kötete valaha is megjelent volna. Sokat változott az idők folyamán a műfordítói szerep, maga a fordítás a szakfordítás szinonimájává vált, melyről sokaknak egy gyári munkához hasonló mechanikus folyamat jut eszébe. Amíg azonban egy tolmácstól elvárható, hogy folyékonyan beszélje az
    [Show full text]
  • A Zen Harvest
    Begin Reading Table of Contents About the Authors Copyright Page Thank you for buying this Farrar, Straus and Giroux ebook. To receive special offers, bonus content, and info on new releases and other great reads, sign up for our newsletters. Or visit us online at us.macmillan.com/newslettersignup For email updates on Sōiku Shigematsu, click here. The author and publisher have provided this e-book to you for your personal use only. You may not make this e-book publicly available in any way. Copyright infringement is against the law. If you believe the copy of this e-book you are reading infringes on the author’s copyright, please notify the publisher at: us.macmillanusa.com/piracy. For Maya and Sōjun Foreword There is no concept or archetype in Zen Buddhism that does not self-destruct. The Diamond Sutra says, “The Buddha does not have the thirty-two marks of the Buddha, therefore he (or she) is called Buddha.” Buddha, shunyata, prajna, maya—all are provisional. With such transparent and ephemeral terminology and imagery Zen Buddhism becomes American, Australian, Polish, and Argentine, while Confucianism remains Chinese, however skillfully it is translated. Heidegger remains German in the most fluent Japanese. Zen is poetry, as R. H. Blyth said.1 Poetry might use unfamiliar words and names, but these can be looked up, and when they are clear East and West can smile together. Paradise is None of my business, but I’ve got to go Help Amitabha Buddha Who works there. I find this Dharma song in Sōiku Shigematsu’s collection to be reminiscent of Gary Snyder’s American haiku: You be Bosatsu, I’ll be the taxi driver Driving you home.2 Amitabha is the Buddha of Infinite Light and Life who guides us to the Western Paradise when we die.
    [Show full text]
  • Poetic Forms Haiku As an Example May 7, 2018 IWN Hilton Head Island, SC Silence Between Words Stories
    Poetic Forms haiku as an example May 7, 2018 IWN Hilton Head Island, SC silence between words stories desert stretched to the horizon silence pond lilies FloatinG in their centers silence silence in a rain shower seven colors winter leaves buds oF tiGhtly rolled silence silence around a waitinG bird the nest silver-tipped Firs snow deepening silence silence between crashinG waves the brieFness oF Foam riptide in the sea the pull oF silence silence drawinG toGether lovers a silver cord a blossom’s dance the urGe deep within silence Jane Reichhold BeinG aware Being nonjudgmental BeinG reverent HavinG a sense oF oneness Having a sense of simplicity Having humility Poetic Forms Line Content beyond • Each line • Repetition • Presentation • Line • Development • Craft orGanization • Elements Guidance • Theme • Personal rules/ideas Tanka 5-7-5-7-7 RenGa /Renku Haiku also7-7-7-5(dodoitsu),7-5-7-5 (iroha). And 5-7-5-7.(nagauta) . Haiku and Tanka Possibly my Guardian anGel a winter sparrow (Sanki) Possibly my Guardian anGel a winter sparrow I shot it and went home with the smell oF gunpowder (Shuji) Terayama Shuuji (1935 -1983) after the haiku by Saitou Sanki (1900 – 1962): Fast Poem: short, simple, visual Issa Goes out, comes back: love oF liFe oF a cat The man pullinG radishes points my way with a radish Deer lickinG First Frost From one another’s coats Even with insects, some can sinG, some can’t Not very anxious to bloom, my plum tree Not knowinG it’s in a kitchen, the Fish coolinG in a tub Haiku in Japanese & in English 1 line 3 lines* 5-7-5 sounds 5-7-5 syllables* Season words EnGlish lanGuage/ Japanese western, lanGuage/cultural American cultural backGround backGround Haiku in EnGlish (new) Traditional • Seven accented jeep tracks syllables, plus over deer tracks unaccented syllables up in the new snow to 12 (William R.
    [Show full text]
  • Atlas Poetica Journal of World Tanka Poetry 30
    ATLAS POETICA A Journal of World Tanka Number 30 M. Kei, editor 2017 Keibooks, Perryville, Maryland, USA KEIBOOKS P O Box 516 Perryville, Maryland, USA 21903 AtlasPoetica.org Atlas Poetica A Journal of World Tanka Copyright © 2017 by Keibooks All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by reviewers and scholars who may quote brief passages. See our EDUCATIONAL USE NOTICE. Atlas Poetica : A Journal of World Tanka, an organic print and e-journal published at least three times a year. Atlas Poetica is dedicated to publishing and promoting world tanka literature, including tanka, kyoka, gogyoshi, tanka prose, tanka sequences, shaped tanka, sedoka, mondo, cherita, zuihitsu, ryuka, and other variations and innovations in the field of tanka. We do not publish haiku, except as incidental to a tanka collage or other mixed form work. Atlas Poetica is interested in all verse of high quality, but our preference is for tanka literature that is authentic to the environment and experience of the poet. While we will consider tanka in the classical Japanese style, our preference is for fresh, forward-looking tanka that engages with the world as it is. We are willing to consider experiments and explorations as well as traditional approaches. In addition to verse, Atlas Poetica publishes articles, essays, reviews, interviews, letters to the editor, etc., related to tanka literature. Tanka in translation from around the world are welcome in the journal.
    [Show full text]
  • Kanshi, Haiku and Media in Meiji Japan, 1870-1900
    The Poetry of Dialogue: Kanshi, Haiku and Media in Meiji Japan, 1870-1900 Robert James Tuck Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Robert Tuck All Rights Reserved ABSTRACT The Poetry of Dialogue: Kanshi, Haiku and Media in Meiji Japan, 1870-1900 Robert Tuck This dissertation examines the influence of ‘poetic sociality’ during Japan’s Meiji period (1867-1912). ‘Poetic sociality’ denotes a range of practices within poetic composition that depend upon social interaction among individuals, most importantly the tendency to practice poetry as a group activity, pedagogical practices such as mutual critique and the master-disciple relationship, and the exchange among individual poets of textually linked forms of verse. Under the influence of modern European notions of literature, during the late Meiji period both prose fiction and the idea of literature as originating in the subjectivity of the individual assumed hegemonic status. Although often noted as a major characteristic of pre-modern poetry, poetic sociality continued to be enormously influential in the literary and social activities of 19th century Japanese intellectuals despite the rise of prose fiction during late Meiji, and was fundamental to the way in which poetry was written, discussed and circulated. One reason for this was the growth of a mass-circulation print media from early Meiji onward, which provided new venues for the publication of poetry and enabled the expression of poetic sociality across distance and outside of face-to-face gatherings. With poetic exchange increasingly taking place through newspapers and literary journals, poetic sociality acquired a new and openly political aspect.
    [Show full text]
  • An Annotated Translation of "Toshi Bunka No
    An annotated translation of "Toshi bunka no hattatsu (The development of urban culture)"; a portion of vol IV of Kyodai Nihonshi (The Kyoto University History of Japan) Item Type text; Thesis-Reproduction (electronic) Authors Sullivan, Jerry Vincent, 1941- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 11:53:19 Link to Item http://hdl.handle.net/10150/347560 AN ANNOTATED TRANSLATION OF "TOSHI BUNKA NO HATTATSU (THE DEVELOPMENT OF URBAN CULTURE)" A PORTION OF VOL. IV OF KYODAI NIHONSHI (THE KYOTO UNIVERSITY HISTORY OF JAPAN) by . Jerry Vincent Sullivan A Thesis Submitted to the Faculty of the DEPARTMENT OF ORIENTAL STUDIES In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 19 6 6 STATEMENT BY AUTHOR This thesis has been, submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgement of source is made„ Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship.
    [Show full text]
  • How to Write, Share, J and Teach Haiku WILLIAM J. HIGGINSON
    How to Write, Share, J and Teach Haiku WILLIAM J. HIGGINSON WITH PENNY HARTER MCGRAW-HILL BOOK COMPANY New York St. Louis San Francisco Bogota Guatemala Hamburg Lisbon Madrid Mexico Montreal Panama Paris San Juan Sao Paulo Tokyo Toronto Copyright © 1985 by William J. Higginson All rights reserved. Printed in the United States of America. Except as permitted under the Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a data base or retrieval system, without the prior written permission of the publisher. 123456789FGRFGR8765 ISBN a-D7-02fi7ab-H Library of Congress Cataloging in Publication Data Higginson, William J., 1938- The haiku handbook. Bibliography: p. Includes indexes. 1. Haiku—History and criticism 2. Haiku—Technique. I. Harter, Penny. II. Title. PL729.H481984 808.1 84-17174 ISBN 0-07-028786-4 (pbk.) Book design by Patrice Fodero A Note on the Translations and Some Words of Thanks The primary purpose of reading and writing haiku is sharing moments of our lives that have moved us, pieces of experience and perception that we offer or receive as gifts. At the deepest level, this is the one great purpose of all art, and especially of literature. The writer invites the reader to share in the experience written about, and in the experience of the shared language itself. In this handbook you will find haiku in ten different lan­ guages, from all inhabited continents of Earth. While I have made all the final versions of the translations unless stated otherwise in the text, a number of people have given of their time and exper­ tise, that we might all share, as nearly as possible, the experiences and the languages of these poems.
    [Show full text]
  • A Thesis Presented to the Faculty of Alfred University Liminal Spaces In
    A Thesis Presented to The Faculty of Alfred University Liminal Spaces in Sadakichi Hartmann’s My Rubaiyat and Tanka and Haikai: Japanese Rhythms by Charles McAllister In partial fulfillment of the requirements for the Alfred University Honors Program May 12, 2021 Under the Supervision of: Chair: ___Dr. Robert Reginio, Professor of English Committee Members: _____________________________________ Dr. Cecilia Beach, Professor of French and Modern Languages _____________________________________ Dr. Melissa Ryan, Professor of English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
    [Show full text]
  • One Hundred Poems from the Japanese
    The following book introduction by Kenneth Rexroth appears in the book One Hundred Poems from the Japanese. The following text has been transcribed from the 1964 paperback edition, published by New Directions. Pages IX-XX. Introduction; One Hundred Poems from the Japanese Kenneth Rexroth It is common to stress the many ways in which Japanese poetry differs from English or Western European, or, for that matter, all other verse. Great as these differences are, and they are profound, the Japanese still wrote poetry. Japanese poetry does what poetry does everywhere: it intensifies and exalts experience. It is true that it concentrates practically exclusively on this function. The poetry of other peoples usually serves other functions too, some of them not particularly germane to the poetic experience. It is possible to claim that Japanese poetry is purer, more essentially poetic. Certainly it is less distracted by non-poetic considerations. Many, especially Japanese, editors and translators have been embarrassed by this intensity and concentration and labored to explain each poem until it has been explained away. Often the explanation has obtruded into the poem itself, which has been expanded with concealed commentary and interpretation. Often the translator has simply expanded the poem, relaxed its concentration, usually into platitude. This is all too easy to do, because Japanese poetry depends first of all on the subtlety of its effects. It is a poetry of sensibility. If these effects are extended and diluted, the sensibility easily degenerates into sentimentality. There are of course manifest differences from Western poetry. One is apparent at a glance.
    [Show full text]
  • Sadakichi Hartmann Papers
    http://oac.cdlib.org/findaid/ark:/13030/tf7s2007q4 Online items available Sadakichi Hartmann papers Compiled by John Batchelor; machine-readable finding aid created by Apex Data Services Special Collections & University Archives The UCR Library P.O. Box 5900 University of California Riverside, California 92517-5900 Phone: 951-827-3233 Fax: 951-827-4673 Email: [email protected] URL: http://library.ucr.edu/libraries/special-collections-university-archives © 1999 The Regents of the University of California. All rights reserved. Sadakichi Hartmann papers MS 068 1 Descriptive Summary Title: Sadakichi Hartmann papers Date (inclusive): circa early 20th century, undated. Collection Number: MS 068 Creator: Hartmann, Sadakichi, 1867-1944 Extent: 84.0 linear feet(108 document boxes, multiple containers) Repository: Rivera Library. Special Collections Department. Riverside, CA 92517-5900 Abstract: Sadakichi Hartmann (1867-1944) was a writer, poet, dramatist, and critic during the early 20th century. Hartmann was an important figure in early modernism and had a diverse social circle that included Walt Whitman, Ezra Pound, and John Barrymore. This collection includes Hartmann's published works, unpublished manuscripts, correspondence, photographs, pastels, paintings, and diaries. Languages: English Access This collection is open for research. Publication Rights Copyright Unknown: Some materials in these collections may be protected by the U.S. Copyright Law (Title 17, U.S.C.). In addition, the reproduction, and/or commercial use, of some materials may be restricted by gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing agreement(s), and/or trademark rights. Distribution or reproduction of materials protected by copyright beyond that allowed by fair use requires the written permission of the copyright owners.
    [Show full text]