Gosenshu 6 - Revision history

Jchristo: /* 350 */

2020-06-11T15:48:59Z

350

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	== 350 ==		== 350 ==

			返し

			Response

			伊勢

			Ise

			をみなへしをりもをらずもいにしへをさらにかくべき物ならなくに

			wominahesi The patrinias
			wori mo wora-zu mo Whether I break them or not
			inisihe wo What has now passed on
			sara ni kaku beki There is nothing there for me
			mono nara-naku ni To remember or speak of.

			--

			Ise's response can be read as a deflection; her difficult position as a former lover of Nakahira and Uda makes it impossible for her to say anything specific, especially because of the ranks of the people involved. Katagiri offers the idea that the orange tree (''tatibana'') is the usual flower that causes reminiscing, and the patrinia would not call up any such memories.

	= Variant Text Poems =		= Variant Text Poems =

Jchristo: /* 349 */

2020-06-11T15:37:03Z

349

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	== 349 ==		== 349 ==

			法皇、伊勢が家の女郎花を召しければ、奉るを聞きて

			He heard that Emperor Uda requested patrinias from Ise's house, and she sent them.

			枇杷右大臣

			Biwa Minister of the Right [Fujiwara no Nakahira]

			女郎花折りけん袖のふしごとにすぎにし君を思ひいでやせし

			wominahesi In the folds of sleeves
			wori-ken sode no That you picked patrinias
			husi goto ni Each time you picked them,
			sugi-ni-si kimi wo Did you remember the one
			omohi-ide ya se-si Who has now passed on before?

			;sleeves
			:The expression ''sode no husi'' is unclear, and both Kifune and Katagiri emend to ''eda no husi''. This is the reading in some manuscripts, as well as the ''Kokin waka rokujo'' and ''Ise collection.'' Kudo does not emend the text but his translation of the poem uses "flowers" rather than "sleeves". The branch version creates a play on ''husi'' (joints of the branch / instances of time). ''Sode'' occurs in enough manuscripts that it's hard to regard it as a simple error, and perhaps it means something like the folds or threads of the sleeves.

			;The one
			:In the ''Ise Collection'' this is ''aki'' (autumn) instead.

			--

			This is a difficult poem to interpret, not least because of the textual difficulties mentioned above. The poem also requires some backstory to understand. Nakahira and Ise were once lovers, but Nakahira was forced into a marriage, and Ise went into Emperor Uda's service and bore him a son. So further relationship between Nakahira and Ise was impossible. The ''Ise Collection'' tells us that this poem was written after Uda's death, in which case the fourth line would refer to the deceased Uda. Nakayama didn't think this situation worked with the prose preface as given in the GSS.

			The poem is easiest to understand with the ''Ise Collection'' version, where Nakahira asks if plucking the flowers made her remember the autumns they spent together (with a play on ''aki'' - the times you were cold to me). The poem as given in the base text for the GSS perhaps means "When you picked the patrinias, did your wet sleeves make you remember the times you spent with Uda?" We would then have to read this as a rather bitter or ironic poem -- inappropriate if Uda is dead, perhaps more appropriate if her service has simply ended and she is now living in her own house, but Uda is still keeping up communication with her.

	== 350 ==		== 350 ==

Jchristo: /* V1 */

2020-06-10T15:29:17Z

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	= Variant Text Poems =		= Variant Text Poems =

	== V1 ==		== V8 ==

	This poem occurs between 321 and 322 in the ''Unshu-bon'' manuscript.		This poem occurs between 321 and 322 in the ''Unshu-bon'' manuscript.

Jchristo: /* V1 */

2020-06-10T15:28:16Z

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	== V1 ==		== V1 ==

	(between 321 and 322 in ~~unshu~~-bon)		This poem occurs between 321 and 322 in the ''Unshu-bon'' manuscript.

	花山に遍照僧正のもとにまかりける夜		花山に遍照僧正のもとにまかりける夜

			On a night when he visited Bishop Henjo at Hanayama.

	巨勢かなをか		巨勢かなをか
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	秋のいけは月のかがみのはこなれやむべもにしきにもみぢしにけり		秋のいけは月のかがみのはこなれやむべもにしきにもみぢしにけり

			aki no ike ha The pond of autumn
			tuki no kagami no Does it act as a box for
			hako nare ya The mirror of the moon?
			mube mo nisiki ni That must be why, as brocade,
			momidi si-ni-keri The autumn leaves scatter down.

			--

			The image here is of the reflection of the moon being covered by fallen autumn leaves on the surface of the pond, thus acting as a fabric covering for the box in which the moon keeps its mirror. The image is lovely but it is out of place in this volume; the actual falling leaf poems do not occur until volume 7.

Jchristo: /* 348 */

2020-06-10T15:21:58Z

348

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	;Frivolous		;Frivolous
	:Atsuyoshi apparently had the reputation as having casual relationships with many women.		:Atsuyoshi apparently had the reputation as having casual relationships with many women.

			;Minister's daughter
			:Identity unknown.

	--		--
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	Despite the detailed prose preface and afterword, this poem has two entirely different interpretations. The one given by Kigin, Nakayama, and Kifune is that Sadakata is now allowing the marriage -- "I wouldn't give you this flower if it didn't have the name 'woman'; that is, I'm giving you my daughter." Kudo and Katagiri have the opposite interpretation -- "If this didn't have the name of 'flower' but were an actual woman, there's no way I would give it to you -- you can't marry my daughter." In this case the last two lines are interpreted as a ''hango'' construction (that asks a question but implies "no" as the answer). Nakayama also cites an alternate theory from a scholar named Kamemaro; he doesn't actually give the theory but presumably it is this reading.		Despite the detailed prose preface and afterword, this poem has two entirely different interpretations. The one given by Kigin, Nakayama, and Kifune is that Sadakata is now allowing the marriage -- "I wouldn't give you this flower if it didn't have the name 'woman'; that is, I'm giving you my daughter." Kudo and Katagiri have the opposite interpretation -- "If this didn't have the name of 'flower' but were an actual woman, there's no way I would give it to you -- you can't marry my daughter." In this case the last two lines are interpreted as a ''hango'' construction (that asks a question but implies "no" as the answer). Nakayama also cites an alternate theory from a scholar named Kamemaro; he doesn't actually give the theory but presumably it is this reading.

	It's difficult to make a judgment between the readings. The use of ''hana no na'' and the use of "during that period" in the sidenote incline me towards the "No" interpretation, but that seems like a rather harsh poem, particularly one addressed to a prince.		It's difficult to make a judgment between the readings. The use of ''hana no na'' and the use of "during that period" in the sidenote incline me towards the "No" interpretation, but that seems like a rather harsh poem, particularly one addressed to a prince. Since we can't determine who this woman was or when this event happened, there's no historical information to confirm or deny either reading.

	== 349 ==		== 349 ==

Jchristo: /* 348 */

2020-06-10T15:20:13Z

348

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	== 348 ==		== 348 ==

			相撲（すまひ）の還饗（かへりあるじ）の暮れつ方、女郎花折りて、敦慶親王の飾しにさすとて

			In the evening of the Sumo return banquet, he broke off a patrinia, and gave it to Prince Atsuyoshi to adorn his cap.

			三条右大臣

			Sanjo Minister of the Left [Sadakata]

			をみなへし花のなならぬ物ならば何かは君がかざしにもせん

			wominahesi The patrinia
			hana no na nara-nu If it were not a flower
			mono nara-ba With this name attached,
			nani ka ha kimi ga For what purpose would I now
			kazasi ni mo se-n Give it to you for your cap?

			年頃、家の娘に消息通はし侍りけるを、「女のために軽々し」などいひて、許さぬ間になん侍りける。

			Through the years, Atsuyoshi had exchanges letters with the Minister's daughter, but he said things like "It would be frivolous for her sake," and he would not permit their relationship; this is during that period.

			;Sumo return banquet
			:Sumo wrestlers from each province came to compete in the capital, and there would be a feast for the victors afterwards. Apparently there were patrinias there. See the ''Shinsho'' and ''Hachidaishusho'' for a detailed description of the festival as well as sources for the practice.

			;Frivolous
			:Atsuyoshi apparently had the reputation as having casual relationships with many women.

			--

			Despite the detailed prose preface and afterword, this poem has two entirely different interpretations. The one given by Kigin, Nakayama, and Kifune is that Sadakata is now allowing the marriage -- "I wouldn't give you this flower if it didn't have the name 'woman'; that is, I'm giving you my daughter." Kudo and Katagiri have the opposite interpretation -- "If this didn't have the name of 'flower' but were an actual woman, there's no way I would give it to you -- you can't marry my daughter." In this case the last two lines are interpreted as a ''hango'' construction (that asks a question but implies "no" as the answer). Nakayama also cites an alternate theory from a scholar named Kamemaro; he doesn't actually give the theory but presumably it is this reading.

			It's difficult to make a judgment between the readings. The use of ''hana no na'' and the use of "during that period" in the sidenote incline me towards the "No" interpretation, but that seems like a rather harsh poem, particularly one addressed to a prince.

	== 349 ==		== 349 ==

Jchristo: /* V1 */

2020-06-09T19:52:50Z

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	巨勢かなをか		巨勢かなをか

			Kose no Kanaoka

	秋のいけは月のかがみのはこなれやむべもにしきにもみぢしにけり		秋のいけは月のかがみのはこなれやむべもにしきにもみぢしにけり

Jchristo: /* V1 */

2020-06-09T19:51:59Z

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	花山に遍照僧正のもとにまかりける夜		花山に遍照僧正のもとにまかりける夜

			巨勢かなをか

	秋のいけは月のかがみのはこなれやむべもにしきにもみぢしにけり		秋のいけは月のかがみのはこなれやむべもにしきにもみぢしにけり

Jchristo: /* V1 */

2020-06-09T19:51:17Z

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	(between 321 and 322 in unshu-bon)		(between 321 and 322 in unshu-bon)

			花山に遍照僧正のもとにまかりける夜

			秋のいけは月のかがみのはこなれやむべもにしきにもみぢしにけり

Jchristo: /* 347 */

2020-06-09T19:49:20Z

347

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	== 347 ==		== 347 ==

			前栽にをみなへし侍りける所にて

			At a place where the garden plants included patrinias

			女郎花にほふさかりを見る時ぞわがおいらくはくやしかりける

			wominahesi The patrinias
			nihohu sakari wo Profusely blooming beauty
			miru toki zo It's when I see it
			waga oiraku ha That I very much lament
			kuyasikari-keru My unfortunate old age.

			--

			This is another poem that tends towards the ''haikai'' side of things -- once again playing on the "woman" sound of the flowers, the old man thinks that he could frolic with them if only he were younger. Nakayama noted the contrast between ''sakari'' (bloom) and ''oiraku'' (aged).

			== 348 ==

			== 349 ==

			== 350 ==

	= Variant Text Poems =		= Variant Text Poems =