Gosenshu 7 - Revision history

Jchristo: /* 441 */

2020-09-11T20:28:41Z

441

← Older revision		Revision as of 20:28, 11 September 2020
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	The meaning of the poem is not immediately evident, aside from the obvious contrast between the presence of the moon and the passing of the autumn. I am most partial to Nakayama's explanation that the season of autumn is passing by, while the moon (a major poetic image of autumn) remains. However, all three modern commentaries explain this as a clash between the physical calendar and the natural world, which is a common theme in Heian poetry. According to them, the moon remaining in the sky at dawn should be a late month symbol, but due to the calendars not always matching up completely with the lunar cycle, in this case the season is changing over with the moon still present.		The meaning of the poem is not immediately evident, aside from the obvious contrast between the presence of the moon and the passing of the autumn. I am most partial to Nakayama's explanation that the season of autumn is passing by, while the moon (a major poetic image of autumn) remains. However, all three modern commentaries explain this as a clash between the physical calendar and the natural world, which is a common theme in Heian poetry. According to them, the moon remaining in the sky at dawn should be a late month symbol, but due to the calendars not always matching up completely with the lunar cycle, in this case the season is changing over with the moon still present.

			== 442 ==

			おなじつごもりに

			On the same end of the month

			みつね

			Mitsune

			いづ方に夜はなりぬらんおぼつかなあけぬかぎりは秋ぞとおもはん

			idukata ni Which one is it now,
			yo ha nari-nu-ran This night between fall and winter?
			obotukana I have no idea.
			ake-nu kagiri ha Well, as long as it's still night,
			aki zo to omoha-n I'll keep thinking it's autumn.

			--

			The new day was reckoned to start at 2:00 AM. Nakayama connects this to the "calendar logic" in a poem like [[Kokinshu_1\|KKS 1]], but Kifune notes that this is not a simple poem of calendar logic -- Mitsune is lamenting the end of autumn by saying that he's going to keep thinking it's autumn for as long as he can.

Jchristo: /* 440 */

2020-09-11T19:52:41Z

440

← Older revision		Revision as of 19:52, 11 September 2020
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	The fish ''hio'' appears in the MYS, but not in the KKS, and just here in the GSS.		The fish ''hio'' appears in the MYS, but not in the KKS, and just here in the GSS.

			== 441 ==

			九月つごもりに

			On the last day of the 9th month

			つらゆき

			[Ki no] Tsurayuki

			長月の在明の月はありながらはかなく秋はすぎぬべらなり

			nagatuki no In the longest month
			ariake no tuki ha The moon shining in the dawn
			ari-nagara Is there, however,
			hanaku aki ha The ephemeral autumn
			sugi-nu bera-nari Seems like it will soon pass by.

			--

			This poem and the next one are by prominent KKS poets; this arrangement has been seen earlier in the seasonal books. Here, Tsurayuki and Mitsune's poems are placed as if the two were together composing poetry.

			The meaning of the poem is not immediately evident, aside from the obvious contrast between the presence of the moon and the passing of the autumn. I am most partial to Nakayama's explanation that the season of autumn is passing by, while the moon (a major poetic image of autumn) remains. However, all three modern commentaries explain this as a clash between the physical calendar and the natural world, which is a common theme in Heian poetry. According to them, the moon remaining in the sky at dawn should be a late month symbol, but due to the calendars not always matching up completely with the lunar cycle, in this case the season is changing over with the moon still present.

Jchristo: /* 440 */

2020-09-10T21:10:40Z

440

@@ Line 1,914: / Line 1,914: @@
 宇治山の紅葉を見ずは長月のすぎゆくひをもしらずぞあらまし
-  udiyama no
+  udiyama no                         If I didn't see
-  momizi wo mi-zu ha
+  momizi wo mi-zu ha                 Autumn leaves from Mount Uji
-  naga
+  nagatuki no                        I would not know that

Jchristo: /* 439 */

2020-09-10T20:16:09Z

439

← Older revision		Revision as of 20:16, 10 September 2020
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	This poem is in the ''Prince Motoyoshi Collection'' as a poem sent to him, and from there it reappears as SIS 1269. The ''Collection'' identifies the woman as ''Yamanoi no Kimi'', who cannot be identified, but there was a residence known as the ''Yamanoi-dono'' in the capital. Kifune suggests that this woman may have reused the GSS poem as her response.		This poem is in the ''Prince Motoyoshi Collection'' as a poem sent to him, and from there it reappears as SIS 1269. The ''Collection'' identifies the woman as ''Yamanoi no Kimi'', who cannot be identified, but there was a residence known as the ''Yamanoi-dono'' in the capital. Kifune suggests that this woman may have reused the GSS poem as her response.

			== 440 ==

			長月のつごもりの日、紅葉に氷魚をつけてをこせて侍りければ

			On the last day of the 9th month, when [someone] sent autumn leaves with ''hio''.

			千兼が娘

			Chikanu's daughter

			宇治山の紅葉を見ずは長月のすぎゆくひをもしらずぞあらまし

			udiyama no
			momizi wo mi-zu ha
			naga

Jchristo: /* 438 */

2020-09-09T20:11:26Z

438

← Older revision		Revision as of 20:11, 9 September 2020
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	This simple occasional poem suggests the end of autumn by contrasting the "stopped" leaves which now lie dead at the base of the tree, with the autumn that has continued moving on. Kigin sees this as a poem lamenting the end of autumn.		This simple occasional poem suggests the end of autumn by contrasting the "stopped" leaves which now lie dead at the base of the tree, with the autumn that has continued moving on. Kigin sees this as a poem lamenting the end of autumn.

			== 439 ==

			忘れにける男の、紅葉を折りて送りて侍りければ

			When a man that had forgotten about her broke off autumn leaves and sent them to her.

			思ひいでて問ふにはあらじ秋はつる色の限りを見するなるらん

			omohi ide-te You surely will not
			tohu ni ha ara-zi Remember me and visit.
			aki haturu The end of autumn
			iro no kagiri wo And the limit of color
			misuru naru-ran Is all you seem to show me.

			--

			The last poems of the collection are all on the end of autumn. This love poem uses the usual play on ''aki''; here used to mean that he has grown tired of her, and that his lack of interest is being shown by the leaves. Kifune thinks that the man may have intended the red leaves to show the burning of his desire, but she turns the image back on him.

			This poem is in the ''Prince Motoyoshi Collection'' as a poem sent to him, and from there it reappears as SIS 1269. The ''Collection'' identifies the woman as ''Yamanoi no Kimi'', who cannot be identified, but there was a residence known as the ''Yamanoi-dono'' in the capital. Kifune suggests that this woman may have reused the GSS poem as her response.

Jchristo: /* 437 */

2020-09-08T17:59:42Z

437

← Older revision		Revision as of 17:59, 8 September 2020
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	Might this be a screen painting poem?		Might this be a screen painting poem?

			== 438 ==

			紅葉の散り積もれる木のもとにて

			At the foot of a tree where autumn leaves had fallen and piled up

			もみぢばはちるこのもとにとまりけり過ぎ行く秋やいづちなるらむ

			momidiba ha The fall leaves that fell
			tiru ko no moto ni At the bottom of this tree
			tomari-keri Seem to have stopped there.
			sugi-yuku aki ya The autumn, which passed on by,
			iduti naru-ramu Wherever has it now gone?

			--

			This simple occasional poem suggests the end of autumn by contrasting the "stopped" leaves which now lie dead at the base of the tree, with the autumn that has continued moving on. Kigin sees this as a poem lamenting the end of autumn.

Jchristo: /* 436 */

2020-09-07T19:21:57Z

436

← Older revision		Revision as of 19:21, 7 September 2020
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	The surface meaning of the poem is fairly clear. The question is whether the situation offers a secondary love meaning. The main indicators of a possible love meaning are the word ''otoko'' (man), which is common in love poetry, and the fact that picking flowers is often used as a metaphor for "gaining" a woman. Everyone seems to agree that the poem is written by a woman in response, despite the lack of any indication. Kigin thought that the first lines indicated the man was sleeping around with many woman, and so the "dew" (tears) on the flower were for his sake. Nakayama questioned this interpretation; he considered a love meaning possible but did not commit himself. Kifune thought that this was a man and woman of slight acquaintance, and that the love imagery was being used as a joke. Kudo and Katagiri do not mention a possible love meaning.		The surface meaning of the poem is fairly clear. The question is whether the situation offers a secondary love meaning. The main indicators of a possible love meaning are the word ''otoko'' (man), which is common in love poetry, and the fact that picking flowers is often used as a metaphor for "gaining" a woman. Everyone seems to agree that the poem is written by a woman in response, despite the lack of any indication. Kigin thought that the first lines indicated the man was sleeping around with many woman, and so the "dew" (tears) on the flower were for his sake. Nakayama questioned this interpretation; he considered a love meaning possible but did not commit himself. Kifune thought that this was a man and woman of slight acquaintance, and that the love imagery was being used as a joke. Kudo and Katagiri do not mention a possible love meaning.

			== 437 ==

			題しらず

			Circumstance unknown

			吹く風にまかする舟や秋のよの月のうへよりけふはこぐらん

			huku kaze ni In the blowing wind
			makasuru hune ya The boat sails along its path,
			aki no yo no On an autumn night
			tuki no uhe yori Over the moon reflected
			kehu ha kogu-ran Does it move across today?

			--

			The imagery here is similar to [[Gosenshu_6#321\|GSS 321]], but since there is no prose preface the exact meaning of the poem is hard to pin down. Early commentaries suggested this was a metaphor for the fallen autumn leaves floating on a pond. Nakayama and Kifune both saw this as a completely imagined scenario , with the boat sailing over the moon. Katagiri was more specific. He pointed to variant readings in many alternate texts -- ''otikaze'' (wind from the west) instead of ''huku kaze'', and ''ima'' (now) instead of ''kehu'' (today). His reading is that the people are on a boat moving along, carried by the wind, in the same direction that the moon is moving.

			Might this be a screen painting poem?

Jchristo: /* 435 */

2020-09-04T18:35:55Z

435

← Older revision		Revision as of 18:35, 4 September 2020
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	Although there is no explicit late autumn imagery in this poem, the poem has the feel of the season ending. The poet knows that in spring the geese will fly away for the season, and wishes that they would stay there even in the new year. Older commentaries read a deeper meaning. Tameie labeled this a ''jukkai'' poem, meaning one that expresses the poet's feeling through symbol or metaphor -- presumably he had the same idea as Kigin and Nakayama, that this is read by someone who is parting from a friend going on a journey. The main poetic technique in the poem is (at least in the base text) the double use of the word ''kaeru'' to refer to the changing season as well as the returning geese.		Although there is no explicit late autumn imagery in this poem, the poem has the feel of the season ending. The poet knows that in spring the geese will fly away for the season, and wishes that they would stay there even in the new year. Older commentaries read a deeper meaning. Tameie labeled this a ''jukkai'' poem, meaning one that expresses the poet's feeling through symbol or metaphor -- presumably he had the same idea as Kigin and Nakayama, that this is read by someone who is parting from a friend going on a journey. The main poetic technique in the poem is (at least in the base text) the double use of the word ''kaeru'' to refer to the changing season as well as the returning geese.

			== 436 ==

			男の「花鬘ゆはん」とて、「菊あり」と聞くところに乞ひにつかはしたりければ、花に加へてつかはしける

			A man thought to tie a flower to his chaplet, and he heard there was a place that had crysanthemums, so he sent a note asking for one. The response had a flower included with it.

			みな人にをられにけりと菊の花君がためにぞつゆはおきける

			mina hito ni They all have been picked
			wo-rare-ni-keri to By people, you may have heard,
			kiku no hana The crysanthemums:
			kimi ga tame ni zo It is for your sake that I
			tuyu ha oki-keru Have left this dew on the bloom.

			;Tie a flower
			:This is probably in connection with some sort of ceremonial function.

			--

			The surface meaning of the poem is fairly clear. The question is whether the situation offers a secondary love meaning. The main indicators of a possible love meaning are the word ''otoko'' (man), which is common in love poetry, and the fact that picking flowers is often used as a metaphor for "gaining" a woman. Everyone seems to agree that the poem is written by a woman in response, despite the lack of any indication. Kigin thought that the first lines indicated the man was sleeping around with many woman, and so the "dew" (tears) on the flower were for his sake. Nakayama questioned this interpretation; he considered a love meaning possible but did not commit himself. Kifune thought that this was a man and woman of slight acquaintance, and that the love imagery was being used as a joke. Kudo and Katagiri do not mention a possible love meaning.

Jchristo: /* 434 */

2020-09-01T18:31:35Z

434

← Older revision		Revision as of 18:31, 1 September 2020
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	The string of private poems is broken up by two poems re-presenting the major autumn images of the moon, autumn leaves, and geese. This poem's similarity to 428 creates a "bookend" effect. This is another rare example of an explicitly public, official poem -- as is often the case, Tsurayuki is the poet. Hisamatsu Sen'ichi praised the poem as presenting a plain scene but in a poetic, beautiful way. Kifune also found the poem to have ''yugen'' (mysterious depth). Katagiri provides the interpretation of the last line that says this ''wataru'' applies not just to looking across the whole scene, but also the time span of the falling leaves.		The string of private poems is broken up by two poems re-presenting the major autumn images of the moon, autumn leaves, and geese. This poem's similarity to 428 creates a "bookend" effect. This is another rare example of an explicitly public, official poem -- as is often the case, Tsurayuki is the poet. Hisamatsu Sen'ichi praised the poem as presenting a plain scene but in a poetic, beautiful way. Kifune also found the poem to have ''yugen'' (mysterious depth). Katagiri provides the interpretation of the last line that says this ''wataru'' applies not just to looking across the whole scene, but also the time span of the falling leaves.

			== 435 ==

			題知らず

			Circumstance unknown

			よみ人も

			Also the poet

			秋ごとにつらをはなれぬかりがねは春返るともかへらざらなん

			aki goto ni Every year in fall
			tura wo hanare-nu They do not break formation
			karigane ha The geese in the sky
			haru kaheru to mo When spring returns once again
			kahera-zara-nan I wish they would not go back!

			;Every year
			:Many texts, and Kigin's ''Hachidaishusho'', read ''aki kaze ni'' (In the autumn wind) instead. Kifune emends the text.

			;Returns...go back
			:Perhaps bothered by the repetition of ''kaheru'', many texts read ''haru kaharu'' (when the season changes to spring) instead. Kigin's text reads ''kaharu'' in the last line, perhaps meaning "I wish they would not change their line".

			--

			Although there is no explicit late autumn imagery in this poem, the poem has the feel of the season ending. The poet knows that in spring the geese will fly away for the season, and wishes that they would stay there even in the new year. Older commentaries read a deeper meaning. Tameie labeled this a ''jukkai'' poem, meaning one that expresses the poet's feeling through symbol or metaphor -- presumably he had the same idea as Kigin and Nakayama, that this is read by someone who is parting from a friend going on a journey. The main poetic technique in the poem is (at least in the base text) the double use of the word ''kaeru'' to refer to the changing season as well as the returning geese.

Jchristo: /* 433 */

2020-08-31T19:19:47Z

433

← Older revision		Revision as of 19:19, 31 August 2020
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	Tomonori's response uses the idea of the dew that grants long life -- this is perhaps based on a Chinese legend of a valley where all the inhabitants were extremely long lived thanks to drinking the dew off of crysanthemums. He points to the idea that the crysanthemums will continue to grow every year, despite these ones wilting. This suggests that Tadayuki will have better luck in future promotions, and will be able to pass on a good name to his descendants. However, Tomonori himself never attained a very high rank, so to the readers of this exchange a generation after Tomonori, there may have been a darker undertone.		Tomonori's response uses the idea of the dew that grants long life -- this is perhaps based on a Chinese legend of a valley where all the inhabitants were extremely long lived thanks to drinking the dew off of crysanthemums. He points to the idea that the crysanthemums will continue to grow every year, despite these ones wilting. This suggests that Tadayuki will have better luck in future promotions, and will be able to pass on a good name to his descendants. However, Tomonori himself never attained a very high rank, so to the readers of this exchange a generation after Tomonori, there may have been a darker undertone.

			== 434 ==

			延喜の御時、秋歌めしありければ、たてまつりける

			In the Engi Period, there was a request [from the Emperor] for an autumn poem, and [Tsurayuki] submitted this.

			つらゆき

			Tsurayuki

			秋の月ひかりさやけみもみぢばのおつる影さへ見えわたるかな

			aki no tuki The moon of autumn
			hikari sayake-mi Its light shines clearly, and so,
			momidiba no Even the shadow
			oturu kage sahe Of the falling colored leaves
			mie-wataru kana Can be seen start to finish.

			;Can be seen
			:Most non-Teika texts read ''ramu'' (perhaps) rather than ''kana'' (emphatic).

			--

			The string of private poems is broken up by two poems re-presenting the major autumn images of the moon, autumn leaves, and geese. This poem's similarity to 428 creates a "bookend" effect. This is another rare example of an explicitly public, official poem -- as is often the case, Tsurayuki is the poet. Hisamatsu Sen'ichi praised the poem as presenting a plain scene but in a poetic, beautiful way. Kifune also found the poem to have ''yugen'' (mysterious depth). Katagiri provides the interpretation of the last line that says this ''wataru'' applies not just to looking across the whole scene, but also the time span of the falling leaves.