Gosenshu 5 - Revision history

Jchristo at 19:51, 10 February 2022

2022-02-10T19:51:39Z

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			__NOTOC__

	= Gosen wakashu Volume 5: Autumn 1 後撰和歌集巻第五　秋上 =		= Gosen wakashu Volume 5: Autumn 1 後撰和歌集巻第五　秋上 =

Jchristo: /* 270 */

2020-04-13T17:01:47Z

270

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	== 270 ==		== 270 ==

			題知らず

			Topic unknown

			藤原守文

			Fujiwara no Morifumi

			草のいとにぬく白玉と見えつるは秋のむすべるつゆにぞ有りける

			kusa no ito ni What I had seen as
			nuku siratama to White jewels threaded on a
			mie-turu ha String made from the leaves of grass
			aki no musube-ru Are actually beads of dew
			tuyu ni zo ari-keru That autumn brought together.

			--

			The last poem in the volume is a public-style poem with the witty ''mitate'' elegance favored in the KKS. The image of dew as beads threaded on a string shows up in the KKS and Chinese poetry, but the personification of autumn here is new. A similar poem by Tsurayuki appears in the next volume (307).

Jchristo: /* 269 */

2020-04-10T19:51:16Z

269

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	== 269 ==		== 269 ==

			返し

			Response [Poet unknown]

			心もておふる山田のひつちほは君まもらねどかる人もなし

			kokoro mote Of its own accord
			ohuru yamada no It grew in the mountain field,
			hitutiho ha The wild stalk of grain,
			kimi mamora-ne-do Though you don't watch over it
			karu hito mo nasi There is no one who reaps it.

			;Wild stalk of grain
			:The word ''hituhiho'' refers to a plant that grows out of the stump of an already harvested grain; such plants would not bear useful fruit or seeds.

			--

			The woman's response continues the farming images. Like the wild stalk that grows in the field, the man hasn't been paying attention to her -- even so, no one has come to claim her. The wild stalk image can mean several things. Perhaps she is using it to humble herself, or to suggest that the man has not been visiting her. The ''kokoro mote'' in the first line may also imply that she has made the choice between the two men herself, although the meaning of the poem seems to turn away the suspicion. Katagiri interprets the ''kokoro mote'' to apply to the man's baseless suspicion of her, although the connection to the rest of the poem is harder to interpret in that reading.

	== 270 ==		== 270 ==

Jchristo: /* 268 */

2020-04-10T19:44:46Z

268

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 == 268 ==
 == 269 ==
 == 270 ==

Jchristo: /* 267 */

2020-04-09T17:15:27Z

267

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	== 267 ==		== 267 ==

			題知らず

			Circumstance unknown

			小野道風朝臣

			Lord Ono no Michikaze

			ほにはいでぬいかにかせまし花すすき身を秋風にすてやはててん

			ho ni ha ide-nu The stalks have appeared.
			ika ni ka se-masi Now what can be done for them?
			hanasusuki The ''susuki'' grass
			mi wo akikaze ni Will its seeds in autumn wind
			sute ya hatete-n Be scattered, then end its life?

			--

			This poem can be read as a simple poem about the ''susuki'', but this is an unlikely reading. The ''susuki'' plant is used to connect to ''ho ni idu'' (the stalks appear) in the KKS and even in the MYS. In both collections the phrase ''ho ni idu'' plays on ''hon'i idu'', referring to one's hidden feelings of love being known to the world. The ''susuki'' appears in KKS 242 and 243, but even there, in a collection that usually downplays the love elements of seasonal poems, the poems have a strong love meaning.

			Therefore the secondary meaning of this poem is "My love for you has been revealed. What shall I do? Like the ''susuki'' grass, will my body be abandoned in the wind of your callousness (''aki'') and die?" ''mi'' suggests both body and perhaps "fruit" or "seeds". Perhaps the poem was sent attached to a susuki plant, if this was actually sent to a person.

			Some alternate manuscripts indicate that this poem was also sent to Taifu, like the previous one. The GSS has several exchanges between Michikaze and Taifu (e.g. 889-890).

	== 268 ==		== 268 ==

Jchristo at 15:01, 9 April 2020

2020-04-09T15:01:06Z

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 This is a 物名 (''mono no na'') poem hiding ''higurasi'' (cicada) in the final line.
-== V1 ==
+== 266 ==
-Futarashi-bon, between 240 and 241
+秋、大輔が太秦のかたはらなる家に侍りけるに、荻の葉に文をさしてつかはしける
-志しありながらえ遭はざりければ
+In autumn, when Taifu was in a house near Uzumasa, he sent this letter attached to a leaf of bush clover.
-大政大臣
+左大臣
-としをへてあうみぬときはしらたまのなみだもあきぞいろまさりける
+Minister of the Left [Fujiwara no Saneyori]

Jchristo at 17:00, 8 April 2020

2020-04-08T17:00:45Z

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	Finally, Kifune reads 251-264 as a series of poems in pairs, almost like a poetry competetion -- a reading that may be bolstered by the unusual number of poems that are drawn from competitions in this section. He also says that 251 and 264 both involve mountains, creating a bookend.		Finally, Kifune reads 251-264 as a series of poems in pairs, almost like a poetry competetion -- a reading that may be bolstered by the unusual number of poems that are drawn from competitions in this section. He also says that 251 and 264 both involve mountains, creating a bookend.

			== 265 ==

			是貞の親王の家の歌合せに

			Read at Prince Koresada's poetry competition

			壬生忠岑

			Mibu no Tadamine

			松のねに風のしらべをまかせては龍田姫こそ秋はひくらし

			matu no ne ni The tuning of the wind
			kaze no sirabe wo She entrusts to the sound of
			makase-te ha The strong root pine trees;
			tatutahime koso It is Princess Tatsuta
			aki ha hiku-rasi Who seems to strum the autumn.

			;Sound of the strong root pine
			:''ne'' plays on the root of the pine, and the sound. Some manuscripts, and the version of this poem found in the poetry competition and the ''Shinsen man'yoshu'', switch the ''ni'' and ''wo'' particles in the first two lines. This results in "She entrusts the sound of the pines to the tuning of the wind."

			;Princess Tatsuta
			:A goddess of autumn venerated in Nara. She appears in KKS 298 as an autumn image.

			--

			This poem involves the sound of the wind through the pines, similar to the previous. Here, we have the sound expressed as the goddess of autumn playing a ''koto''. Poems 167 and 168, in the summer volume, compared Fukayabu's koto playing to the sound of the wind, so this was a positive image.

			SIS 372 has a similar idea:
			::松のねは秋のしらべに聞こゆなり高くせめあげて風ぞひくらし
			::In the sound of the pines I hear the tuning of autumn. The wind is playing with the frets turned up.
			This is a 物名 (''mono no na'') poem hiding ''higurasi'' (cicada) in the final line.

	= Variant Text Poems =		= Variant Text Poems =

Jchristo at 14:40, 7 April 2020

2020-04-07T14:40:38Z

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	This poem also hints at the changing colors of the autumn leaves. This will not show up as a major theme for quite a while. Here, it is not the leaves on the trees that are turning colors, but the grasses of the field.		This poem also hints at the changing colors of the autumn leaves. This will not show up as a major theme for quite a while. Here, it is not the leaves on the trees that are turning colors, but the grasses of the field.

			== 264 ==

			秋風の吹きしく松は山ながら浪立ち帰るおとぞきこゆる

			akikaze no The wind of autumn
			huki-siku matu ha Blowing strongly through the pines
			yama nagara Though on a mountain
			nami tati-kaeru One can hear the sound of waves
			oto zo kikoyuru Crashing in and receding.

			--

			The wind appeared again in the previous poem. This poem picks up on the wind, and with the next poem, compares the sound of the wind through the pines to other poetically appropriate sounds. As Kigin notes, there is an additional resonance here because wind is what is said to make the waves rise. Kifune also draws attention to the lack of doubt in the poem. Often in these ''mitate'' poems, there are suffixes of doubt or supposition, but here we have the direct statement that the wind through the pines sounds like waves. The idea can be found in Chinese poetry, but also in other ''waka''. SIS 453 is a screen painting poem by Tadami:
			::尾上なる松の梢はうちなびき浪の声にぞ風も吹きける
			::The branches of the pines on the mountains rustle, and the wind blows through with the sound of waves.
			A celebratory poem from the KKS, 360:
			::住江の松を秋風吹くからに声うちそふる沖つ白波
			::As the autumn wind blows through the pines of Sumi bay, the white waves in the sea add their voice.
			However, both of these poems seem to be literally the sounds of waves -- Tadami's screen painting is about the Takasago pines, close to the sea, and the KKS poem involves the bay of Sumi. Perhaps the GSS poem was written with poems like this in mind.

			Finally, Kifune reads 251-264 as a series of poems in pairs, almost like a poetry competetion -- a reading that may be bolstered by the unusual number of poems that are drawn from competitions in this section. He also says that 251 and 264 both involve mountains, creating a bookend.


	= Variant Text Poems =		= Variant Text Poems =

Jchristo at 18:00, 3 April 2020

2020-04-03T18:00:54Z

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	The series of poems returns to named authors. Using an elegant pun, this poem is more like public-style Heian court poetry, as opposed to the love poems or simple descriptions of scenery that have come earlier. Kifune notes the additional technique of interpreting something heard as something seen.		The series of poems returns to named authors. Using an elegant pun, this poem is more like public-style Heian court poetry, as opposed to the love poems or simple descriptions of scenery that have come earlier. Kifune notes the additional technique of interpreting something heard as something seen.

			== 263 ==

			[Topic unknown]

			よみ人しらず

			Poet unknown

			風さむみなく秋虫の涙こそくさは色どるつゆとおくらめ

			kaze samu-mi The chilling wind blows,
			naku akimusi no Thus it must be just those tears
			namida koso Of autumn insects
			kusa ha irodoru That lie as dew on the grass
			tuyu to oku-rame Turning the plants to amber.

			;Autumn insects
			:''akimusi'' is a rare term, that seems to occur nowhere else in the imperial anthologies. Some alternate manuscripts and Edo-period editions read ''matumusi'' instead, as does the version of this poem in the ''Shinsen man'yoshu''.

			--

			As with the previous poem, this is a poem that involves a witty court-style elegance. Of course representing tears as dew is commonplace, and the personification of the insects is standard as well. Most commentaries explain that these tears are "tears of blood", which show up in a number of Heian love poems. Katagiri offers an alternate idea -- other Heian poems contain the idea that the coloring of the leaves is caused by dew. This poem tells us that this dew is the tears of the insects.

			This poem also hints at the changing colors of the autumn leaves. This will not show up as a major theme for quite a while. Here, it is not the leaves on the trees that are turning colors, but the grasses of the field.

	= Variant Text Poems =		= Variant Text Poems =

Jchristo at 17:41, 3 April 2020

2020-04-03T17:41:38Z

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 ::秋風のやや拭きしけばきりぎりすうべもよもぎの宿をかるらし
 ::When the autumn wind gradually gets stronger, the crickets barge in and borrow the reed house.
 = Variant Text Poems =