Gosenshu 8: Difference between revisions
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::かきくらし降る白雪のしたぎえにきえて物思ふころにもあるかな | ::かきくらし降る白雪のしたぎえにきえて物思ふころにもあるかな | ||
::The snow piles up and the bottom snow melts, this is a time when my heart too, seems to melt in worry. | ::The snow piles up and the bottom snow melts, this is a time when my heart too, seems to melt in worry. | ||
== 461 == | |||
親の外にまかりて、遅く帰りければ、つかはしける | |||
Her parent had left, and was late in returning, so she sent this | |||
人のむすめのやつなりける | |||
This is someone's daughter named Yatsu | |||
神な月時雨ふるにもくるるひを君まつほどはながしとぞ思ふ | |||
kaminaduki In the tenth month | |||
sigure huru ni mo When the late rains are falling | |||
kururu hi wo Even as the sun sets | |||
kimi matu hodo ha The time that I wait for you | |||
nagasi to zo omohu I feel is far too long. | |||
-- | |||
This poem continues the long set of ''sigure'' poems. The idea here is that the shortest days are found in the tenth month, but even here the speaker feels that the nights are too long. | |||
This is an unusual poem in several respects. A poem written by a child to a parent is atypical for an Imperial collection, which typically features only poems by named adults (or anonymous compositions). Minamoto no Toshiyori noted this in his ''Toshiyori Zuino'' as a child's poem, and it appears in the ''Fukurozoshi'' as well, suggesting that this was of note to Heian-period poets as well. | |||
Second, the author attribution is strange even by GSS standards. Other poem-tale like poems do use attributions like "the woman's daughter", but not complete sentences like this poem has. A number of alternate texts lack this part, or put it in the preface. It's hard not to feel like this attribution was originally part of the preface and became disconnected later. The ''Gosenshu seigi'' claims this was written by Tsurayuki's daughter at age 7, and that her original poem in Tsurayuki's collection read ''titi matu hodo'' (waiting for father). There is no proof of this, and the poem does not appear in any extant version of the ''Tsurayuki Collection.'' Most commentators take the parent to be a mother. | |||
The ''Seigi'' and Kigin praise the poem, as does Kifune, for being a good childish poem. Kifune does note that it may just be an artificial construction. Kudo points to the use of love imagery. Without the prose preface this could be read as a poem by a woman waiting for a man that fails to come, and it may be that what was originally a love poem was later placed in this context. |
Revision as of 18:39, 12 October 2020
後撰和歌集 巻第八 冬
443
題しらず
Circumstance unknown
よみ人も
Also the poet
はつ時雨ふれば山べぞおもほゆるいづれの方のまづもみづらん
hatu sigure The first late year rain hure-ba yamabe zo When it falls I come to think omohoyuru Of the mountain ridge. idure no kata no From which place does it begin madu momidu-ran The first leaves changing color.
--
The winter volume opens with two poems that cause several problems. The first one is that both 443 and 444 seem more appropriate to the Autumn volume than the Winter. The second is that this poem has already appeared in Volume 7 (poem 375). The placement of 443 and 444 next to each other is deliberate, since 444 works as an answer to 443. This repetition of 443 has been traditionally viewed as a mistake or a sign of hasty or incompetent editing.
Kifune and Katagiri both say these poems may have appeared here because of the sigure (late year rain) image. Sigure is found in both winter and autumn poems, although the image is more associated with winter. Perhaps the compilers were keen to start off a big set of sigure poems with poems that used hatu sigure (first late year rain), even if the poems on the whole seemed more like autumn poems. There is a clear sequence between the "first colored leaves" of this poem to the "wilted/fallen leaves" of the next poem to the start of winter in 445. Perhaps the best way to look at this is an initial set of poems that show how the sigure rains cross the seasons from autumn to fall. If the compilers were working sequentially, perhaps they initially included this poem as 375 but then later had the idea to begin winter with the 443-445. And then the current text of the GSS we have never received the final round of editing that would have removed the duplication. However, it's not impossible that the duplication was intentional.
444
はつしぐれふるほどもなくさほ山の梢あまねくうつろひにけり
hatu sigure The first late year rain huru hodo mo naku Has barely started to fall sahoyama no When on Mt. Saho kozuwe amaneku Every branch of all the trees uturohi-ni-keri Have already changed color.
- Changed color
- Many texts read iroduki-ni-keri instead, which also means change color. The base text's uturohu can also carry a secondary meaning of scattering and falling, which may be more appropriate here.
--
This poem seems to be a response to 443; the difficulties of these poems appearing in the Winter volume are discussed above. The poem appears in the Korenori Collection where it is said to be a poem read at the Emperor Teiji poetry competition. MYS 8.1553 is similar:
- 時雨の雨間なくし降れば御笠山木末あまねく色づきにけり
- The late year rains have barely started to fall when all the ends of the trees on Mt. Mikasa have turned color.
It was used as a honka for Senzaishu 353:
- 初しぐれふるほどもなくしもとゆふ葛城山はいろづきにけり
- The first late year rain has barely started to fall when Kazuraki Mountain turns color.
445
神な月ふりみふらずみ定めなき時雨ぞ冬の始めなりける
kaminaduki In the tenth month huri-mi hura-zu-mi It falls and then it doesn't fall sadame naki It has no pattern sigure zo huyu no These late spring rains are what mark hazime nari-keru The beginning of winter.
--
Continuing from the previous sigure poems, we are now into winter. Early commentaries put focus on the type of sigure that was particular to winter, but this seems to be just a description of sigure in general. Kifune praises the poem as expressing the feel of the season and the nature of sigure.
446
冬くればさほの河せにゐるたづもひとりねがたきねをぞなくなる
huyu kure-ba When winter arrives saho no kawase ni At the banks of Saho river wiru tadu mo The sitting crane hitori ne-gataki Has trouble sleeping alone ne wo zo naku-naru I hear crying in pain.
--
This seems to be a love poem, with the poet, like the crane, sleeping alone and crying. The Saho River is typically associated with the tidori bird, not the crane. Neither the river nor the bird have any particular seasonal association. The poem also appears in the Ise Collection, with textual variants that emphasize the love reading.
447
ひとりぬる人のきかくに神な月にはかにもふるはつ時雨かな
hitori nuru Sleeping alone hito no ki-kaku ni I am one who hears it kaminaduki In the tenth month nihaka ni mo huru It suddenly starts to fall hatusigure kana The first rains of the late year.
--
This continues the love connotations of the previous poem; this poem could also be taken as general sorrow, but along with the previous poem it seems to lead into the next poem which has a more explicit love theme.
Shunzei included this poem in his Korai futeisho, and Kifune praised the simple language but deep pathos.
448
秋はてて時雨ふりぬる我なればちることのはをなにかうらみむ
aki hate-te Autumn has ended sigure huri-nuru The late rains fall and soak ware nare-ba My aged body tiru koto no ha wo So the fallen leaves of words, nani ka urami-mu Why should I resent them?
- fall...aged
- The verb huru can be either "fall" or "growing old".
- leaves of words
- Although koto no ha simply means "words", it echoes ko no ha (tree leaves).
--
This poem has a more explicit love meaning than the previous ones, while continuing the rain imagery. The play on huru is common to such poetry, as is the play on aki ("autumn" and "grow tired of"). The "fallen leaves of words" is a bit more difficult to interpret. Kigin and Nakayama thought it meant that the couple's letters and poems had been leaked to the world causing embarrassment, but modern commentators take it to mean that his pledges have come to naught.
The poem seems to have been written based on KKS 782 by Komachi, which appears in a slight variation as GSS 450.
449
吹く風は色も見えねど冬くればひとりぬるよの身にぞしみける
huku kaze ha The wind that's blowing iro mo mie-ne-do Has no color we can see huyu kure-ba But when winter comes hitori nuru yo no On the nights I sleep alone mi ni zo simi-keru It seeps into my body.
- seeps
- The word simu can mean "dye" as well.
--
This is another poem drawing on the imagery of winter and sleeping alone. Here the contrast is between the "colorless" wind and the image of the wind dyeing the poet's body with its cold. Poem 443 in the Kokin waka rokujo is similar:
- 吹きくれば身にもしみける秋風を色なきものと思ひけるかな
- When it blows in it seeps into the body, the autumn wind, though I don't think it has any color.
450
秋はててわが身にしぐれにふりぬれば事の葉さへにうつろひにけり
aki hate-te Autumn ends, and then waga mi sigure ni The late year rains fall and soak huri-nure-ba My aged body, koto no ha sahe ni Then even leaves of your words uturohi-ni-keri Have faded and scattered down.
--
See 448 for the imagery and wordplay here. This poem also appears as KKS 782 by Ono no Komachi, with a different first line, followed by a response poem by Ono no Sadaki:
- 人を思ふ心の木の葉にあらばこそ風のまにまに散りもみだれめ
- If the "leaves" are truly words that show love to you, how could they be scattered by the whims of the wind?
V1
神な月しぐればかりはふらずしてゆきがてにしもなどかなるらん
kaminaduki In the tenth month sigure bakari ha It isn't just late year rains hura-zu site That are falling, but yuki-gate ni si mo Snow is mixed in with it: nado ka naru-ran How can this possibly be?
- Snow
- yuki-gate plays on "difficult to go".
--
This poem is not found in the base text, nor in Teika's later texts, but it is present in his earlier texts and in all of the variant manuscripts (although most of them read sahe in the fourth line instead of si mo). All the edo-period editions, as well as the old Kokka Taikan, contain this poem as well. This means that for the rest of the poems, the numbering found in older research will be off by one. That is, if a book written in the 1960s refers to GSS 892, it will actually be 891 by the numbering of recent editions. Kifune includes the poem in his edition despite it not being in the base text.
The poem is found in the Ise Collection in a set of 12 love exchanges. The love meaning here is the play on "difficult to go" -- the man is apologizing for not being able to visit the woman, perhaps because of snow. Kigin and Nakayama do not take a love reading for this poem; Kigin says that the snow makes it difficult to visit the mountains, and Nakayama says this is just a description of winter scenery.
451
神な月時雨とともにかみなびのもりのこのははふりにこそふれ
kaminaduki In the tenth month sigure to tomo ni Along with the late year rains kaminabi no In Kaminabi mori no ko no ha ha Forest, the leaves of the trees huri ni koso hure Fall and fall, completely gone.
--
The poem is simple, although there are some poetic devices -- the repetition of kamina in the first and third lines brings a certain euphony. The leaves and the rain both fall. There may be a suggestion that in this kami (god) month, even in the kami forest the leaves fall.
Perhaps this poem was a companion to KKS 253:
- 神な月時雨もいまだふらなくにかねてうつろふかみなびの森
- The tenth month rains have yet to fall, but the leaves in Kaminabi Forest have already turned color.
Kifune reads 443-451 as a long love sequence stretching from autumn to winter.
452
女につかはしける
たのむ木もかれはてぬれば神な月時雨にのみもぬるるころかな
tanomu ki mo The trees relied on kare-hate-nure-ba Have withered up and vanished kaminaduki So the tenth month is sigure ni nomi mo When only the late year rains nururu koro kana Drench me thoroughly with tears.
- trees relied on
- tanomu also indicates the woman that the man relied on, and the tanomu ki is a wooden structure or temporary hut.
- withered
- kare plays also on "departing" (a man or woman leaving)
--
This love poem continues the rain imagery, similar to 432. Perhaps the woman has found another lover. Some alternate texts read sode (sleeves) instead of koro (time), strengthening the common love imagery, although it is clear even in the base text's version.
453
山へいるとて
When he was entering a mountain.
増基法師
Priest Zouki
神な月時雨ばかりを身にそへてしらぬ山地に入るぞかなしき
kaminaduki In the tenth month sigure bakari wo It is only the late rain mi ni sohete That I take with me siranu yamadi ni To the unknown mountain path iru zo kanasiki I enter in with sorrow.
--
Sogi classifies this as a travel poem. The GSS' small set of travel poems do have a few dealing with journeys in mountains, but the focus here is on the priest leaving the world behind, taking only the rain (and no other worldly possessions) as he enters the mountain to begin his ascetic life.
Nakayama has an interesting analysis of the poem. He mentions two theories from "certain people" -- one that there is an implied play on huru (falling rain and growing old), and another than the way the late rains move around the mountains is associated with the poet's movement. Nakayama sees both of these as doubtful, and says that if you look too deeply into a poem like this it begins to lose its pathos. Kudo does support the "movement of the late rains" association.
Shunzei included this poem in his Korai futeisho, and the pseudo-Teika Teika jittei classifies this as a 濃様体 poem (without defining what the type means).
454
神無月ばかりに、大江千古がもとに「あはむ」とてまかりたりけれども、侍らぬほどなれば、かへりまできて、たづねてつかはしける
In the 10th month, he said he would visit Oe no Chifuru and went there, but [Chifuru] was not there, so [Tadamasa] returned home, and then sent this.
藤原忠房朝臣
Lord Fujiwara no Tadamasa
もみぢばはをしき錦と見しかども時雨とともにふりでてぞこし
momidiba ha The autumn leaves were wosiki nisiki to A beautiful brocade mi-sika-domo I saw it and yet sigure to tomo ni Along with the late year rains huri-de-te zo kosi I turned and fell away.
- fell
- huri plays on the falling rain, the poet leaving, and for association with "brocade", the idea of dyeing clothes.
--
This is a personal exchange after a failed visit. Tadamasa praises Chifuru's garden while also regretting that they could not meet. He begins a set of wordplays on cloth dyeing which Chifuru continues in his response. There is also an interesting sound sequences of wosiki nisiki misika in the second and third lines. Many non-Teika texts read nisiki ni misikado which heightens the soundplay.
455
返し
Response
大江千古
Oe no Chifuru
もみぢばも時雨もつらしまれにきてかへらむ人をふりやとどめぬ
momidiba mo The autumn leaves and sigure mo turasi The late year rains both wound me mare ni ki-te The person rarely kahera-mu hito wo Visiting, and then leaving, huri ya todome-nu They would not fall to stop him!
--
The meaning is clear and provides an effective response to Masafusa's poem. Kifune also identifies a number of words poetically associated with the brocade that Masafusa mentioned -- huri and todome both associating with dyeing, and kaeramu hi as the color that the brocade is changing too. The exchange shows the friendship between the two.
456
題しらず
Circumstance unknown
よみ人も
Also the poet
神な月限りとや思ふもみぢばのやむ時もなくよるさへにふる
kaminaduki Do they think the tenth month, kagiri to ya omohu Is the end of their time here momidiba no The autumn leaves? yamu toki mo naku Is that why, without ceasing, yoru sahe ni huru They even fall in the night?
--
The poems on the end of the autumn leaves continue; here the poet laments their swift scattering.
This seems to have been a well known poem at the time. Minamoto no Shitago's collection notes that in 951, when the order to compile the GSS came down, Shitago composed the following poem based on the poem above:
- 神な月はてば紅葉もいあかんれや時雨とともにふりにふるらん
- When the 10th month ends, what happens to the autumn leaves? They fall and fall along with the late year rains.
457
ちはやぶる神がき山のさか木ばは時雨に色もかはらざりけり
tihayaburu From a thousand years kamigakiyama no On the tall sacred mountain sakakiba ha Sakaki tree leaves sigure ni iro mo Even the rains of the late year kahara-zari-keri Do not change their color.
- (first line)
- tihayaburu is a pillow word for "mountain" of uncertain meaning.
- Tall sacred mountain
- kamigaki yama seems not to be a specific place name, although it's possible it is a mountain near Kamigaki Forest in Yamato prefecture. It may just mean a sacred mountain. KKS 1074 also has these two images together.
--
In contrast to the last poem's falling leaves, here we have evergreen leaves that never fall. There is a difference among commentators on whether the poem is suggesting that the presence of the gods prevents the leaves from changing -- both because of the "sacred" mountain and the sakaki tree itself, which was used in Shinto rites.
458
住まぬ家にまできて、紅葉にかきて、いひつかはしける
He went to a house he did not live in, wrote on autumn leaves, and sent this.
枇杷左大臣
Biwa Minister of the Left [Nakahira]
人すまずあれたるやどをきて見れば今ぞこのはは錦をりける
hito suma-zu No person lives here are-taru yado wo To the ravaged dwelling ki-te mire-ba I have come to look, ima zo konoha ha It is only now that the leaves nisiki wori-keru Have woven a brocade for me.
--
This poem could go in the autumn volume, but the response uses sigure, making it appropriate for here. The idea behind the poem is perhaps that the house looks even better than when he lived there -- the man bears a grudge for being abandoned. Or if it is an attempt to restart their relationship, it may simply recall the happy time they spent together in the house.
This is the first poem in the Ise Collection, where it has a much longer prose preface that explains the situation more fully. Nakahira had met Ise when she was serving at the palace, and they had a relationship. But Nakahira was forced to marry someone else for political reasons, and their relationship ended. Years later he came to the house (perhaps on 5th avenue) where they lived, and attached autumn leaves to this poem.
459
返し
Response
伊勢
Ise
涙さへ時雨にそひてふるさとは紅葉の色もこさまさりけり
namida sahe I cry tears of blood sigure ni sohi-te Even these, when the rain falls: hurusato ha Their depth of color momidi no iro mo Exceeds that of autumn leaves ko-sa masari-keri In the house we used to share.
--
Ise responds to Tokihira's poem by reminding him that he abandoned her, and that she cries tears of blood.
458 and 459 appear in some manuscripts of the Sosei collection, leading some commentators to suggest that the poems were intentionally reused (with variations) by Ise and Tokihira. These comments are based on a strong trust in the reliability of these personal collections. But the older collections were typically not compiled by the people themselves, and could contain poems that the poets did not write.
460
題しらず
Circumstance unknown
よみ人も
Also the poet
冬の池の鴨のうはげにおくしものきえて物思ふころにもあるかな
huyu no ike no On a winter pond kamo no uhage ni The frost on the exposed fur oku simo no Of the duck melts, kie-te mono omohu This is a time when my heart too koro ni mo aru kana Seems to melt in worry.
- melts
- The first three lines are a poetic preface that leads to the poet's heart "melting" out of love worry.
--
This is a love poem, a "preface poem" (序歌) expressing abstract feelings of love with nature metaphors. Such poems were favored by the KKS compilers over personal love poems addressed to specific people. The GSS' love volumes are almost entirely personal poems, and the compilers preferred to put this sort of metaphorical poem in the seasonal volume. As a love poem it continues from the previous exchange; perhaps we can imagine Tokihira feeling this way after failing to reconnect with Ise, or Ise herself recalling her love worries.
A similar poem by Tadamine is in the KKS (566):
- かきくらし降る白雪のしたぎえにきえて物思ふころにもあるかな
- The snow piles up and the bottom snow melts, this is a time when my heart too, seems to melt in worry.
461
親の外にまかりて、遅く帰りければ、つかはしける
Her parent had left, and was late in returning, so she sent this
人のむすめのやつなりける
This is someone's daughter named Yatsu
神な月時雨ふるにもくるるひを君まつほどはながしとぞ思ふ
kaminaduki In the tenth month sigure huru ni mo When the late rains are falling kururu hi wo Even as the sun sets kimi matu hodo ha The time that I wait for you nagasi to zo omohu I feel is far too long.
--
This poem continues the long set of sigure poems. The idea here is that the shortest days are found in the tenth month, but even here the speaker feels that the nights are too long.
This is an unusual poem in several respects. A poem written by a child to a parent is atypical for an Imperial collection, which typically features only poems by named adults (or anonymous compositions). Minamoto no Toshiyori noted this in his Toshiyori Zuino as a child's poem, and it appears in the Fukurozoshi as well, suggesting that this was of note to Heian-period poets as well.
Second, the author attribution is strange even by GSS standards. Other poem-tale like poems do use attributions like "the woman's daughter", but not complete sentences like this poem has. A number of alternate texts lack this part, or put it in the preface. It's hard not to feel like this attribution was originally part of the preface and became disconnected later. The Gosenshu seigi claims this was written by Tsurayuki's daughter at age 7, and that her original poem in Tsurayuki's collection read titi matu hodo (waiting for father). There is no proof of this, and the poem does not appear in any extant version of the Tsurayuki Collection. Most commentators take the parent to be a mother.
The Seigi and Kigin praise the poem, as does Kifune, for being a good childish poem. Kifune does note that it may just be an artificial construction. Kudo points to the use of love imagery. Without the prose preface this could be read as a poem by a woman waiting for a man that fails to come, and it may be that what was originally a love poem was later placed in this context.