KKS 3 - Revision history

Jchristo at 15:47, 17 August 2023

2023-08-17T15:47:11Z

← Older revision		Revision as of 15:47, 17 August 2023
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	[[~~Kokinshu~~ 2\|Previous poem]] \| [[~~Kokinshu~~ 4\|Next poem]]		[[KKS 2\|Previous poem]] \| [[KKS 4\|Next poem]]

	= Text =		= Text =

Jchristo: /* Text */

2023-02-22T19:00:30Z

Text

← Older revision		Revision as of 19:00, 22 February 2023
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	よみ人しらず		よみ人しらず

	~~春霞たてるやいづこみ吉野の吉野の山に雪は降りつつ~~		春霞　たてるやいづこ　みよしの<ruby>の<rt>ゝ</rt></ruby>　よしの<ruby>の<rt>ゝ</rt></ruby>山に　雪は降りつ<ruby>つ<rt>ゝ</rt></ruby>

	= Translation =		= Translation =

Jchristo: /* Other sources */

2023-02-22T18:59:01Z

Other sources

← Older revision		Revision as of 18:59, 22 February 2023
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	::春霞たてるは都さても猶山のおくには雪やふるらむ		::春霞たてるは都さても猶山のおくには雪やふるらむ
	::The spring mist rises in the capital, but still in the deep mountains, snow seems to fall.		::The spring mist rises in the capital, but still in the deep mountains, snow seems to fall.
	* [[俊頼髄脳]]　[[和歌初学抄]]　[[古来風体抄]] [[無名抄]]　[[西行上人談抄]]　[[和歌口伝]]　[[定家八代抄]]　[[五代集歌枕]]（よしのやま）　[[了俊歌学書]]		* [[俊頼髄脳]]　[[和歌初学抄]]　[[古来風体抄]]　[[無名抄]]　[[西行上人談抄]]　[[和歌口伝]]　[[定家八代抄]]　[[五代集歌枕]]（よしのやま）　[[了俊歌学書]]

	[[KKS 2\|Previous poem]] \| [[KKS 4\|Next poem]]		[[KKS 2\|Previous poem]] \| [[KKS 4\|Next poem]]

Jchristo: /* Other sources */

2023-02-22T18:58:24Z

Other sources

← Older revision		Revision as of 18:58, 22 February 2023
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	[[KKS 2\|Previous poem]] \| [[KKS 4\|Next poem]]		[[KKS 2\|Previous poem]] \| [[KKS 4\|Next poem]]

	[[~~Categories~~: Poet Unknown]]		[[Category:Poet Unknown]]
	[[~~Categories~~: Haze]]		[[Category:Haze]]
	[[~~Categories~~: Snow]]		[[Category:Snow]]

Jchristo: /* Other sources */

2023-02-22T18:58:02Z

Other sources

← Older revision		Revision as of 18:58, 22 February 2023
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	= Other sources =		= Other sources =

	* [[~~Sources#新撰和歌\|~~新撰和歌]]２. Second line たたるやいづこ.		* [[新撰和歌]]２. Second line たたるやいづこ.
	* [[~~Sources#和漢朗詠集\|~~和漢朗詠集]]７８		* [[和漢朗詠集]]７８
	* [[~~Sources#拾玉集\|~~拾玉集]]３４７４. This is a set of 100 poems based on KKS poems, and Jien wrote the following poem is written based on KKS 3:		* [[拾玉集]]３４７４. This is a set of 100 poems based on KKS poems, and Jien wrote the following poem is written based on KKS 3:
	::春霞たてるは都さても猶山のおくには雪やふるらむ		::春霞たてるは都さても猶山のおくには雪やふるらむ
	::The spring mist rises in the capital, but still in the deep mountains, snow seems to fall.		::The spring mist rises in the capital, but still in the deep mountains, snow seems to fall.
	* [[~~Sources#俊頼髄脳\|~~俊頼髄脳]]　[[~~Sources#和歌初学抄\|~~和歌初学抄]]　[[~~Sources#古来風体抄\|~~古来風体抄]]　[[~~Sources#無名抄\|~~無名抄]]　[[~~Sources#西行上人談抄\|~~西行上人談抄]]　[[~~Souces #和歌口伝\|~~和歌口伝]]　[[~~Sources#定家八代抄\|~~定家八代抄]]　[[~~Sources#五代集歌枕\|~~五代集歌枕]]（よしのやま）　[[~~Sources#了俊歌学書\|~~了俊歌学書]]		* [[俊頼髄脳]]　[[和歌初学抄]]　[[古来風体抄]] [[無名抄]]　[[西行上人談抄]]　[[和歌口伝]]　[[定家八代抄]]　[[五代集歌枕]]（よしのやま）　[[了俊歌学書]]

	[[~~Kokinshu~~ 2\|Previous poem]] \| [[~~Kokinshu~~ 4\|Next poem]]		[[KKS 2\|Previous poem]] \| [[KKS 4\|Next poem]]

			[[Categories: Poet Unknown]]
			[[Categories: Haze]]
			[[Categories: Snow]]

Jchristo: Jchristo moved page Kokinshu 3 to KKS 3

2023-02-22T18:54:31Z

Jchristo moved page Kokinshu 3 to KKS 3

← Older revision	Revision as of 18:54, 22 February 2023
(No difference)

Jchristo: /* Other sources */

2022-08-12T17:30:39Z

Other sources

← Older revision		Revision as of 17:30, 12 August 2022
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	= Other sources =		= Other sources =

	* ~~新撰和歌２~~. Second line たたるやいづこ.		* [[Sources#新撰和歌\|新撰和歌]]２. Second line たたるやいづこ.
	* ~~和漢朗詠集７８~~		* [[Sources#和漢朗詠集\|和漢朗詠集]]７８
	* ~~拾玉集３４７４~~. This is a set of 100 poems based on KKS poems, and Jien wrote the following poem is written based on KKS 3:		* [[Sources#拾玉集\|拾玉集]]３４７４. This is a set of 100 poems based on KKS poems, and Jien wrote the following poem is written based on KKS 3:
	::春霞たてるは都さても猶山のおくには雪やふるらむ		::春霞たてるは都さても猶山のおくには雪やふるらむ
	::The spring mist rises in the capital, but still in the deep mountains, snow seems to fall.		::The spring mist rises in the capital, but still in the deep mountains, snow seems to fall.
	* ~~俊頼髄脳　和歌初学抄　古来風体抄　無名抄　西行談抄　和歌口伝　定家八代抄　五代集歌枕（よしのやま）　了俊歌学書~~		* [[Sources#俊頼髄脳\|俊頼髄脳]]　[[Sources#和歌初学抄\|和歌初学抄]]　[[Sources#古来風体抄\|古来風体抄]]　[[Sources#無名抄\|無名抄]]　[[Sources#西行上人談抄\|西行上人談抄]]　[[Souces #和歌口伝\|和歌口伝]]　[[Sources#定家八代抄\|定家八代抄]]　[[Sources#五代集歌枕\|五代集歌枕]]（よしのやま）　[[Sources#了俊歌学書\|了俊歌学書]]

	[[Kokinshu 2\|Previous poem]] \| [[Kokinshu 4\|Next poem]]		[[Kokinshu 2\|Previous poem]] \| [[Kokinshu 4\|Next poem]]

Jchristo at 15:20, 19 January 2021

2021-01-19T15:20:51Z

← Older revision		Revision as of 15:20, 19 January 2021
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			[[Kokinshu 2\|Previous poem]] \| [[Kokinshu 4\|Next poem]]

	= Text =		= Text =

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	* {{Oldest\|Toshiyori}} included this in his list of poems that were good poems, but had rough or unskilled words (presumably the たたる).		* {{Oldest\|Toshiyori}} included this in his list of poems that were good poems, but had rough or unskilled words (presumably the たたる).
	* In contrast, {{Oldest\|Kamo no Chomei}} specially praised the たてるやいづこ. Perhaps aware of the criticism, he cited another poem using たてるや that he thought was bad.		* In contrast, {{Oldest\|Kamo no Chomei}} specially praised the たてるやいづこ. Perhaps aware of the criticism, he cited another poem using たてるや that he thought was bad.
	* {{Teika\|Teika}} included this poem in his ''Shuka daitai''.		* {{Teika\|Teika}} included this poem in his ''Shuka daitai'', as well as the ''Teika hachidaisho''.

	{{Edo\|Mabuchi}} noted the simplicity and directness of this poem in contrast to the intricate composition of poem 2. This was echoed by {{Modern\|Kaneko}} who contrasted the lack of poetic technique with the strong composition, carrying echoes of Nara-period poetry. McCullough also picks up on the contrast between the "artful" poem 2 and the "simple, songlike" poem 3. Cranston praises the "pleasant" sound of the poem's repetition and multiple "y" sounds.		{{Edo\|Mabuchi}} noted the simplicity and directness of this poem in contrast to the intricate composition of poem 2. This was echoed by {{Modern\|Kaneko}} who contrasted the lack of poetic technique with the strong composition, carrying echoes of Nara-period poetry. McCullough also picks up on the contrast between the "artful" poem 2 and the "simple, songlike" poem 3. Cranston praises the "pleasant" sound of the poem's repetition and multiple "y" sounds.
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	::The spring mist rises in the capital, but still in the deep mountains, snow seems to fall.		::The spring mist rises in the capital, but still in the deep mountains, snow seems to fall.
	* 俊頼髄脳　和歌初学抄　古来風体抄　無名抄　西行談抄　和歌口伝　定家八代抄　五代集歌枕（よしのやま）　了俊歌学書		* 俊頼髄脳　和歌初学抄　古来風体抄　無名抄　西行談抄　和歌口伝　定家八代抄　五代集歌枕（よしのやま）　了俊歌学書

			[[Kokinshu 2\|Previous poem]] \| [[Kokinshu 4\|Next poem]]

Jchristo at 22:16, 14 January 2021

2021-01-14T22:16:33Z

← Older revision		Revision as of 22:16, 14 January 2021
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	{{Edo\|Keichu}} was the first to note a similarity between this poem and MY 823:		{{Edo\|Keichu}} was the first to note a similarity between this poem and MY 823:

	梅の花ちらくはいづくしかすがにこの城の山に雪は降りつつ		::梅の花ちらくはいづくしかすがにこの城の山に雪は降りつつ
	Where are the plums scattering? On this Mount Shiro[?] snow keeps falling.		::Where are the plums scattering? On this Mount Shiro[?] snow keeps falling.

	Takeoka contrasts the "artful construction" of the MY poem with the more direct and relaxed feeling of the KKS poem.		Takeoka contrasts the "artful construction" of the MY poem with the more direct and relaxed feeling of the KKS poem.
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	Finally, this poem was influential on a number of later poems. For instance, this poem by Mitsune seems almost to be a response:		Finally, this poem was influential on a number of later poems. For instance, this poem by Mitsune seems almost to be a response:

	吉野山雪は降りつつ春霞は春日の野辺にぞありける		::吉野山雪は降りつつ春霞は春日の野辺にぞありける
	While the snow repeatedly falls on Yoshino, it is Kasuga Plains where the mist rises.		::While the snow repeatedly falls on Yoshino, it is Kasuga Plains where the mist rises.

	The first poems of both the SIS and the SKKS also have similar imagery.		The first poems of both the SIS and the SKKS also have similar imagery.

	春立つといふばかりにやみ吉野の山も霞て今朝は見ゆらむ		::春立つといふばかりにやみ吉野の山も霞て今朝は見ゆらむ
	Is it just because someone says spring is here that I seem to see Yoshino Mountain misted this morning.		::Is it just because someone says spring is here that I seem to see Yoshino Mountain misted this morning.

	御吉野の山も霞みて白雪のふりにし里に春は来にけり		::御吉野の山も霞みて白雪のふりにし里に春は来にけり
	Yoshino Mountain is misty; spring has come to the old village where snow had fallen.		::Yoshino Mountain is misty; spring has come to the old village where snow had fallen.

	This suggests that even though some commentators have questioned whether this is a "beginning of spring" poem, it was read that way from early on. McCullough says that this is introducing a new topic, "lingering traces of winter in the new year," and that it shows the tendency for the compilers to place anonymous poems before those by named poets in a particular grouping.		This suggests that even though some commentators have questioned whether this is a "beginning of spring" poem, it was read that way from early on. McCullough says that this is introducing a new topic, "lingering traces of winter in the new year," and that it shows the tendency for the compilers to place anonymous poems before those by named poets in a particular grouping.
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	= Other related poems =		= Other related poems =

	いまも猶雪はふりつつ朝がすみたてるやいづこ春はきにけり		::いまも猶雪はふりつつ朝がすみたてるやいづこ春はきにけり
	Even now snow continues to fall. Where is the morning mist rising? Spring has come. (SSIS 7)		::Even now snow continues to fall. Where is the morning mist rising? Spring has come. (SSIS 7)

	The next poem is a conscious echo of KKS 3 almost to the point of being a parody, but some charm comes from the use of the same language and imagery to point to the next major image of spring.		The next poem is a conscious echo of KKS 3 almost to the point of being a parody, but some charm comes from the use of the same language and imagery to point to the next major image of spring.

	桜花さけるやいづこみよしののよしのの山はかずみこめつつ		::桜花さけるやいづこみよしののよしのの山はかずみこめつつ
	Where are the cherry blossoms blooming? Yoshino mountain is still wrapped in mist. (SGSIS 77, Fushimi-in)		::Where are the cherry blossoms blooming? Yoshino mountain is still wrapped in mist. (SGSIS 77, Fushimi-in)

	On the other hand, this is an example of the Kyogoku-Reizei school's preference using the ''honka-dori'' technique in a broader way than the more conservative Nijo school.		On the other hand, this is an example of the Kyogoku-Reizei school's preference using the ''honka-dori'' technique in a broader way than the more conservative Nijo school.

	いつしかもかすみにけらしみよしのやまだふる年の雪もけなくに		::いつしかもかすみにけらしみよしのやまだふる年の雪もけなくに
	The mist is already here! On Yoshino mountain last year's snow has yet to disappear. (GYS 7, Takashi no Mototada		::The mist is already here! On Yoshino mountain last year's snow has yet to disappear. (GYS 7, Takashi no Mototada

			= Other sources =

			* 新撰和歌２. Second line たたるやいづこ.
			* 和漢朗詠集７８
			* 拾玉集３４７４. This is a set of 100 poems based on KKS poems, and Jien wrote the following poem is written based on KKS 3:
			::春霞たてるは都さても猶山のおくには雪やふるらむ
			::The spring mist rises in the capital, but still in the deep mountains, snow seems to fall.
			* 俊頼髄脳　和歌初学抄　古来風体抄　無名抄　西行談抄　和歌口伝　定家八代抄　五代集歌枕（よしのやま）　了俊歌学書

Jchristo: /* Analysis */

2020-08-17T19:59:33Z

Analysis

← Older revision	Revision as of 19:59, 17 August 2020
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		= Text =

		題しらず

		よみ人しらず

		春霞たてるやいづこみ吉野の吉野の山に雪は降りつつ

		= Translation =

		Topic unknown

		Author unknown

		The spring mist / where is it rising? / On Yoshino Mountain (4), / Holy Yoshino (3), / the snow keeps falling.

		= Explanation =

		This poem, in contrast to the previous one, is simple and direct. It picks up on the winter imagery of the ice in the previous poem and brings in the snow on Yoshino Mountain. Perhaps this is read by someone near Yoshino, who wonders where the signs of spring are when all they see is snow. The poem also uses a technique that will recur in a number of the following poems -- the mention of a particular spring symbol (mist, in this case) even though it is not actually present to the poet.

		= Detailed Notes =

		;題しらず
		:The term 題 here, a Chinese loan word, seems to refer to the topic of the poem, or perhaps the circumstance of composition. The interpretation of 題しらず is somewhat unclear because some of the poems marked this way in the KKS are by the compilers themselves, and presumably they knew the circumstances of their own composition. There are also poems where it seems the compilers would have known or had access to the topic information but apparently chose not to use it.
		:{{Denju\|Sogi}} (cited in the {{Denju\|Kyotansho}}) thought this could refer to compositions in the moment, that had no assigned "topic," or one where the poem is on multiple things and a topic cannot be discerned, or where the topic did not actually appear in the poem. {{Denju\|Matsunaga Teitoku}} adds that this can also be topics that are truly unknown, or where the compilers concealed the topic for some reason.
		:In the modern period, {{Modern\|Kaneko}} and {{Modern\|Kubota}} thought 題 referred to the circumstance rather than the topic, although Takeoka disagrees, citing evidence that 折しらず was available to the compilers if they wanted to talk about the circumstance.

		;よみ人しらず
		:Read as よみびとしらず (Takeoka). As Katagiri indicates, the majority of these anonymous poems show affinity to the MY style or have archaic elements not found in the poetry of the KKS compilers. Thus we can conjecture they are from the Nara or early Heian periods, and thus represent the 古 in 古今和歌集. However, there are some which seem to be newer. Older commentaries suggested that in some cases the name was withheld either to protect a high-ranking person or conceal a low-ranking person, or even obeying an Imperial order. In some cases poems have side notes suggesting alternate authorship, and there was a tradition of trying to identify the authors of these poems. A medieval work called the 古今和歌集隠名作者次第 tries to list authors for all the anonymous poems -- this poem is assigned to Fujiwara no Mototsune. But there is no evidence for the majority of these attributions. An alternate tradition given by {{Teika\|Tamesuke}} attributes this poem to Emperor Daigo.

		;春霞
		:はるかすみ (Takeoka). This was voiced as はるがすみ in later times, and many editions still voice it.

		;たてるやいづこ
		:A number of alternate manuscripts read たたる, as does the 新撰和歌. They seem to mean roughly the same thing (Katagiri suggests a sound change たちたる -> たったる -> たたる (whereas たてる is たちある -> たてる). {{Oldest\|Fujiwara no Norinaga}} claimed that a manuscript in the hand of Ki no Tsurayuki's sister read たたる and that Emperor Sutoku agreed with that reading. {{Oldest\|Shunzei}} also supported the reading. {{Edo\|Mabuchi}} noted that たたる is an old word and seems to have thought it fit better with this anonymous poem, but no modern edition emends the text. Takeoka notes that たたる occurs in a sekimori poem in MY 4375 and may have been dialect, and Katagiri agrees that it is either dialect or old-fashioned.

		;み吉野の吉野
		:This phrase seems to have been confusing to earlier commentators, but since {{Edo\|Keichu}}, it has been interpreted as a doubling for praise and poetic rhythm. Similar doublings can be found in MY poems. The み is an honorific. Yoshino was a place often associated with snow in poetry; the Heian-era {{Oldest\|''Waka shogakusho''}} found this remarkable enough that there is a list of poems that double a word (often in a pun, although here it is simply a repetition).

		= Analysis =

		The major question of interpretation in this poem is whether the mist is real or not. That is, the poem can be read in two ways:

		# Where can this mist be rising from, since there's still snow on Yoshino?
		# It's spring, so despite snow still falling on Yoshino there must be mist rising somewhere even though I don't see it.

		{{Denju\|Sogi}} says that the snow obscuring the peaks suggests mist to the poet since it's spring. {{Nativist\|Norinaga}} also says the poet does not see mist, and {{Nativist\|Takanao}} agrees. The {{Nativist\|''Seigi''}} is a chief proponent of the other view, that the poet is looking at a misty sky and bemoaning its rarity, since it is spring. Modern commentators generally take the view that the mist is not actually there, partially based on the position of the poem in the anthology. Takeoka provides another possible explanation: the original unknown poet intended the mist to be actually there, but the compilers read it as not there bsaed on their placement. Finally, Katagiri looks with suspicion on all of this debate -- so many of the poems in the KKS are screen poems or poetry competitions, so what meaning does "actual" have? His reading is that a person in snowy Yoshino village is looking at the snow and thinking about how mist must be rising in the capital

		Many modern commentators read this poem as composed by someone in Yoshino, rather than someone in the capital looking at Yoshino from afar.

		{{Edo\|Keichu}} was the first to note a similarity between this poem and MY 823:

		梅の花ちらくはいづくしかすがにこの城の山に雪は降りつつ
		Where are the plums scattering? On this Mount Shiro[?] snow keeps falling.

		Takeoka contrasts the "artful construction" of the MY poem with the more direct and relaxed feeling of the KKS poem.

		This poem has been subjected to a great deal of praise and criticism.

		* {{Oldest\|Shunzei}} praised the poem for its beauty and form, but thought that in his day, both たたる and たてる were difficult to use.
		* {{Oldest\|Saigyo}} supposedly listed this as one of the poems in the KKS that you should follow in your own composition.
		* {{Oldest\|Toshiyori}} included this in his list of poems that were good poems, but had rough or unskilled words (presumably the たたる).
		* In contrast, {{Oldest\|Kamo no Chomei}} specially praised the たてるやいづこ. Perhaps aware of the criticism, he cited another poem using たてるや that he thought was bad.
		* {{Teika\|Teika}} included this poem in his ''Shuka daitai''.

		{{Edo\|Mabuchi}} noted the simplicity and directness of this poem in contrast to the intricate composition of poem 2. This was echoed by {{Modern\|Kaneko}} who contrasted the lack of poetic technique with the strong composition, carrying echoes of Nara-period poetry. McCullough also picks up on the contrast between the "artful" poem 2 and the "simple, songlike" poem 3. Cranston praises the "pleasant" sound of the poem's repetition and multiple "y" sounds.

		Finally, this poem was influential on a number of later poems. For instance, this poem by Mitsune seems almost to be a response:

		吉野山雪は降りつつ春霞は春日の野辺にぞありける
		While the snow repeatedly falls on Yoshino, it is Kasuga Plains where the mist rises.

		The first poems of both the SIS and the SKKS also have similar imagery.

		春立つといふばかりにやみ吉野の山も霞て今朝は見ゆらむ
		Is it just because someone says spring is here that I seem to see Yoshino Mountain misted this morning.

		御吉野の山も霞みて白雪のふりにし里に春は来にけり
		Yoshino Mountain is misty; spring has come to the old village where snow had fallen.

		This suggests that even though some commentators have questioned whether this is a "beginning of spring" poem, it was read that way from early on. McCullough says that this is introducing a new topic, "lingering traces of winter in the new year," and that it shows the tendency for the compilers to place anonymous poems before those by named poets in a particular grouping.

		= Other related poems =

		いまも猶雪はふりつつ朝がすみたてるやいづこ春はきにけり
		Even now snow continues to fall. Where is the morning mist rising? Spring has come. (SSIS 7)

		The next poem is a conscious echo of KKS 3 almost to the point of being a parody, but some charm comes from the use of the same language and imagery to point to the next major image of spring.

		桜花さけるやいづこみよしののよしのの山はかずみこめつつ
		Where are the cherry blossoms blooming? Yoshino mountain is still wrapped in mist. (SGSIS 77, Fushimi-in)

		On the other hand, this is an example of the Kyogoku-Reizei school's preference using the ''honka-dori'' technique in a broader way than the more conservative Nijo school.

		いつしかもかすみにけらしみよしのやまだふる年の雪もけなくに
		The mist is already here! On Yoshino mountain last year's snow has yet to disappear. (GYS 7, Takashi no Mototada