tpenn personal names ar ite rae Fi the normal oder sed inthe apne angung Miata Massy cates than {supe Mya Allee nes agen fhe Weaern ede. einai plied ia 198, in apne under th ie Man Kole 1 Chbakironhs Ld, Toy, rok sgn by Psi Line “iri inthe Unite Step Redanch Americ th, andi the Unie ‘ingdom and eoninnal cop by Kedeesha Buoy Lid lied by Rodan fterntonl id, 17-14, tows che, Bunko akg 12-885, nd Koda Ameri, ne “prigh © 200 by Mat May Ook Mako Ian Hideo Ley snd dase International Ld. Al ight reserved, Printed op, SBN 4-7701268.0 faced, 200 ‘ww dhelpanpagecom Love Songs from the Am. comin Isroneby Miyata Masayuki ML 8 vom Commenry by Ooka Makoto USE (RR) “Tanita by Tan Hideo Levy KDR AY (aot) ‘withan Eeay by Donald Keene KODANSHA INTERNATIONAL “Toky New York LondonHX «CONTENTS Pagpjceror raz Ents Rraoen——ton Hier Ly akeee pata mame sam» Toe Paoatnane Na yok ——— BRSLOW DIE FeV Movata Masaronis Pax Gor-Ours— Dora eee BEES AB ———____z 2 vows wovrna Ganaran—— Osta rtos ————1 Tee ovr Sowes rca ma av0ar0 1 abner mG a———26 Batpune be defo thinner son 2 Roll Cr aits———an Inthe ping arden the cinson arate ——— Tnasingle sprig of tes bowoms 4 BRL ED NO——$a ie thee bending ofthe ween 5 htcwameRLs »———a Ever snel win it evemBlance 900, my woman « Riltnowxs———vo Quek arth raps inthe Mara River 7 Wilemesa0—s De ott en find out ying st meso apparently 4 Sibiceranihace 2- sy ‘Whee word are these, apken tothe wi of anos? 9 Bet A oe c———sa sing ou se the ie that shermen have tin Akash Cove vw ue duno ‘ee ee atoms int ny eases un Kostolfasvey3———os Feito ois known the bed oe Opeof thease Koen broad tin car Yow, ei gabe 13 Riesz 0eousEe 6——n {may toss andlor, but even shoud ie rom the longing y eykurcZiiene——n Aslam eecupd deh ent mon sn tn ene aR ” 8 » 2” a % a a 2 3 a sia ofbba y FL———2 Donet forget this Eater woman ‘Beames22—_as have fallen it a yareing with no requite mito temo eu —9 ‘a Lsay here yearing while wat for you, my lord 280 Mkoy 93 ¢———_ jeer Teasers that he herd boy har begun ring the Bost BIS 4p 2 $102 Tata here wating for bm inthe aucun wind, ny ssh voted EOL Chink ¢ thy $105 ‘Autor shower, do ntl hae satis t obs ———ao ‘Tonight too dees my woman's pital baie kb bhoORAFN—_@§—i9 Sine fe the arms of my mother scko Eicey miy3¢0— in ‘Thick and fst stream my thoughts of you, ike the ayers Sty items c——in ‘Though slesp wih bua single hin ash mat Batt < aoe ——n5 (for heavenly el I would eel in ikexo ¥o%sm—— a0 ‘Yearning for my woman, [giz int the dance ‘exo ete——§ry llowed othe Get ime inthe Fach new arms #03318 cil TH BUDDIPHROM, KOC AOSWRBTC LL FYUFKitote Do notlet men find out by smiling at me so apparently, like the clouds that clearly cross ‘over the verdant mountains. Lady Otomo Sakanoue [Nolume 4, 688] “The ancient word ihishiroe, “clearly” or “appacently,” may be unfamiliar tothe contemporary Japanese reader. Bu itis the original, form of the modern word ichijrushiku, “remarkably.” ‘The frst three tines of the original, “so apparealy, like the louds that clearly crossover the verdant mountains,” are employed asa pre- lade to introduce the gesture “by smiling” inthe fourth lin (the order is reversed inthe English translation). A woman istelling her lover Don't smile at mein a way that will be apparent to other people. ‘The author wasa woman of immense talent and charm, whose works ae more numerous than any other woman poet ofthe ‘Man'sha. Inher mulivaried expressions of female emotions, she was also a “remarkable” woman. s& iF i Ff z g 3 I 5 2 ie 0 z = & if it # E ae k Whose words are these, iosna ni |} 8P2ken tothe wife of another? inwangatoro |] Whose words are these, posure that bade me untie fn ws tgsho the sash of my robe? ‘Anonymousra Je audio ko cobitise Battie & hae (e128) [Ek] BTEC BOR, CHUILARO IM: 2%, BUHSB Mo CHO THSOTHS, [DELEARES EODRLIO TC. AO TAL EMU ERI OU LE ROBE LIT Le ORE THT e |e 2MARL THOSE LAK, RaaweNR PPELADS AMS. HEAPORTRLO RD OTRREMAE LTO SA, LOIRE LT BMS SAREE C BAZ ETLORIR OES ABDI, BERETS EARBbREV. Bates CHL Oa LAR, Buku, [A] RLONZONRE LTOAS TC, ROI ROL BALE OBBOBOT TIAA OteRLICe ‘Whose words are these, spoken to the wife of another? ‘Whose words are these, that bade me untie the sash ef my robe? ‘Anonymous [otume 12, 2866) ‘The poem is written from the perspective of “the wife of another,” responding to the words of a man who has approached her. Tn the repetition of the phrase tagakor, “whose words are these?" ‘one senses the brightness and buoyancy ofa falk song. Anonymous poems constitute an important part ofthe Men' phi; many of them were folk songs which had been lovingly recited. ‘Was this poem writen by a woman? I strongly doubs it. Surely a ‘man composed it, and it was popularly recited by men. “The wife of| another" was an abject of male sexual desire; the poets of the Man’ showed a special attachment to the theme of secret love with the wives of other men,TA ee | ° Si Gazing ou, Miwamuba || {#2€ 2 fires that fishermen have lc Abhi ure in Akashi Cove, mons ino sclimonebire YT like the longing for my woman jmo nikowate |] thathas flared from me. Prince Kadebe’ ae Brown iiexo tions BRCM ¢ iLEs as-200 MBEAMAO wD TAME DE RCH t wh LH CHS SI MORREMOL b LAORE REIL, REAOMOEHKSS. [RMLURAOMIMT AO) EC ko PRiCH DIEM obHs, BOC EI CSS) EM FROOMPROTHS, OENEH FECHLTW RESCH, OVEABE TOC LF KO TLE oh, EVILET BESCHEATCOREO EE ZOODK ROTI. EMORLVER, TNOA—ME SEROMA BMT BTS (BIBS HMA L LCR moked. 2s Me) MOM, MOBAE, RE BCOTABKTOR DEVI» sei ila iach ian Gazing out, I see the fires that fishermen have lit in Akashi Cove, like the longing for my woman that has flared from me. Prince Kadobe [Volume3, 326) ‘The headnote to this poem tells us it was writen by Prince Kadobe ashe stood on the Naniwa seashore and saw the lights of fishermen, However, the true meaning of the poem lies notinits description of the lights but in its confession of love to a woman. ‘The phrase “Gazing out, I see the fires that fishermen have lit in Alcashi Cove," is 2 prelude which introduces the words ho mir “to appear prominently,” here translated 28 “to flare.” In other words, a yearning that has remained hidden has here suddenly become visible and apparent It is possible that this poem itself constituted the Prince's missive declaring his love, and for this reason, the beautiful description perfectly echoes the content ofthe poem. It is said that the poet was famous asa man of great elegance in his aristocratic circle. The word ho ‘refers to things that are prominent and apparent to the eye: the ears of rice plants, the erests of waves. aBAG sanyo CSM OMARION ROMA AOR TAL ‘The silk-tre flower that blooms in the day closes as itsleeps, yearning through che night Should only its lord look upon it? You too, my vasa, enjoy the sight Lady KiURE amos BwOT, BOARDS hese HER e-461) PROBABIL, redder bevo cee MbCSNELOVHS. REOMML DRM HE CECEMBRORELMOMBOPD LORI TUE ARENT OT 4 7 MEW ARBOR oto ABER TOR one, EAMES oT WLIO, FARM OBO AMEE BL <2 RB L. COURSE HRANC, IE ICI i ot. Fomine, wks EE LEsoRS ee JERAOUTT Le TEM CR TELE OID okwiy, Ch, THOR THMLAREV TEMA ERPS dbSRAMEM. [Eb] Lids FORM, RROMTSTNL SESAKHROE ARBOR. EAOWNTH, HALO eMC MA SNS. ‘The slk-tree flower that blooms in the day closes ast sleeps, yearning through the night. Should only its lord look upon it? ‘You too, my vassal, enjoy the sight. Lady Ki [Wotume 8, 61}, “There often something quite piquant about relations between sea and women in the ancient period, When the sophisticated TempyO culture was atits peak one saw degree of wit inthe exchange oflove poems which puts us moderns to shame. Lady Ki was the wife of Prince Aki, bu after the prince lst his poston through an act of emajert she became friar with che agretlte-Mon'6 poet Oromo Yakamochi This is a poem which she sent Yakmoch along witha presen of blossoms “The “lord” here refers to Lady Ki herself, The “you” addressed here is Yakamochi. Of course, in actual rank, Yakamochi, the scion of the reat Otomo house, was above her Inthe world of men and women, hierarchies were transcended with ease.TRTBOTSH aos NSS c+ 0H CHL her BS Sopmy x ee By aS i x Painfal isthe love Nw novone |) 8tFemains unknown tothe beloved, stigeniaisatere |] like the star lily that has bloomed ime no inet | inthe thick foliage Iona morose || ofthe surnmer field. Lady Oromo SakanoueOED Seaccnns. B40 Sa Awa Lavoe RELERR (8-150), BMA (EEA) SITE TET EMS TOM WY COMMLME LTRMSATOS. REMAKE A HAROKMCRA SIBLE LTRS RAT PHVEMBENTVSHHEDI. UPRECOROPT, MESRMEC MSIE, WELTHETKO, LOH LVEOMME Leib THSOT, MBSTOLOKHAICLAMCIREN, COMI U NY DRDO CEE DIK VEREL THR. SOROS LEAH FS R00) Kapelone, CHEIEEOD. LOR, FRAT OA MONEE, St HBL DOABLE I EETAORDOMMO EI ERBT Zo WHE ARTE LF ARO. LOOKED BAROOE LC RUTH, TOMEI ADEDEMI, UALIEELUROROTTE] Painful isthe love that remains unknown to the beloved, like the sear lly chat has bloomed in the thick foliage of the summer field, Lady Otomo Sakanowe [Volume a, 1500) ‘The entry for “hime yar” sar lily, literally “maiden lily”) in any Japanese dictionary includes, almost without exception, chs poem as a ‘usage example. The poem itself is a touching one, but more chan that, it is generally recognized by scholars as containing the earliest appearance of the word “hime-jur in an ancient text. In this poem, however, the star lily itselFis not deseribeds rather, iis ‘employed as « metaphor for the pain experienced by a young giel whose “unrequited longing remains unknown to its object. This sort of rhetoric ishighly developed in ancient Japanese wake poetry. In this particular poem, the first three lines constitute a metaphor of “unknownness.” ‘This device is called a joshi or “prelude.” Although by one of the greatest women poets of the Man'ytshi this work shows a stylistic composure which suggest it was written as a surrogate expression for an inexperienced young girl. The Lady was skilled ar such compositions.SACS EROS ROT SOTA RAMS RHEE RSA (One of the sashes of Korean brocade that, in our vow, we tied together hhas come undone and fallen tothe floor. Ifyou promise to visit me when-night returns I shall keep it, awaiting you. From the Kakinomoto Hitomaro Collectionisi okie Rembens RaokL Reel e DME cit PERERA en-286) SI DDR TMB, Helhthew. teat REE LIME OR Ctr TBD, hoot be BVHKEIOTHS. FROMMMOMO HAIRS Coed. CH KEEREBYE. SHAKPOT SEBOL ES by HORM TRV TALKED) Hab CS Rice, RTL bebe SRMVMGORE, CPVIRCRGNSLKEC SIL, REATARD Fo THELIOB BU RIM MEME GNTLE OREM RBS E RWS. TMM, LCRUECOR, Htitek HERERO AAs Welt IRE RICHER SMG OD, FRO Cv pe sl i sess One of the sashes of Korean brocade that, in our vow, we tied together has come undone and fallen to the floor. Ifyou promise to visit me when night returns I shall keep it, awaiting you, From the Kakinomoto Hitomaro Collection {Wetume 11,2356} This is a poetic form called the sedoka, which consists of two triplets in 5-7-7 syllabic rhythm. Here a woman who has spent the night with » sman addresses him as he is about to leave the next morning at dawn. She tells him that she will not return his brocade sash now, but will ‘keep it until he comes to visit her again that evening. ‘The emotions of the woman expressed in this poem were probably very common in the case of the “visitation marriage,” where the man ‘would go to the woman's house after the sun set and leave with the break of dawn. Some men surely delighted in the custom, but there must have been others, ofa more adulterous nature, who resented hhaving the sashes of their robes kept “hostage. ‘The Korean brocade was an expensive import, so the image of the ‘man here suggests wealth and upper-class status. The poem was perhaps 1 popular contemporary song added to the Hitomaro Collection by its editors ”‘Anonymous ' E35 2a8 is eaee | EomobeoiRdeseoveUHe OER HCE FE : PreTy] Saab t zrt Beso mOWEAL DS BLAS Bee (ia10-2200 [eaiftbo CHRUEELA, owcacanTtie LELEBS Eb FoLTHDS) ERMICLED EP EV, SOMO LD heme BIE! BRAKE o CRMMRELA SERADLMO—O kz, COMI . BROVEANTOSE EE AOMPEMENTEROERVOTHS, HA-HRE WMEOKS the, [EOLA RRA AUERSCLOWD ETS 1. BROREREOK ERPAMEONSERE, METS LC BURCH Be CREE THI, BIBFOREMETSE VERS EVI ROEM LOMM I REELS nb. Beliec BuITOLA amo (Eich Hb mETEre LROREA TH CODEC, FEICHL TS SERWOLUAHC SED ARDS, MROTEO LIMOS SDLEDELED, £90 JOOVMEMML THROM] LVI RES Tmay toss and turn, ‘but even should I die from the longing 1 shall not make it visible, reveal it in clear colors like the blossoms of the morning glory. ‘Anonymous [Wetume 10,2274} One of the aspects ofthe psychology ofthe ancients which cantem- porary readers find unfathomable is this hidden love. One must not let, the object of one’s yearning know oft. Such isthe famous poem by Princess Shikishi in the Hyahunin shu (One Hundred Poems by One Hondred Poets Collection), in which she says that, rather than having her love revealed, she would let “the thread of life be eutif 0 it must.” ‘This anonymous poem from the Man'yéshit and the renowned work: bby Princess Shikishi share the same meaning, eis thought that behind this powerful taboo was a strongly held belief that to speak the other's name would bring a curse upon the speaker. The above poem is followed by another: Fearful t would be to speak it out in words, solendures love like the morning glory that never blooms conspicuously.[SRL ATES 8 a L X D Ja ah & a iz » a a” s AsTturn my gaze upward and see the creseent moon, Furiakte 2 ‘mitecki mite |) Tam reminded Tite hs seclimeritt of the raling brows ‘onooyuns kono || of the woman I saw but once Otome Yakeamochiseo tkarc S6tanus “BRL Aoidis Bim REE Cee00) CAF) Ev ES. MORE LEA, OF DR By SHARETS THY MC, ICEL (ro THE SB AERS Es TBREDOAD, EE CBETC £3 BABS Rem] LEVITON, BEGC [BAL LOSER YPEMCREMEEONS 3. SIRE URSIN ORTRA RAED ORY Fo T RHOAMOHO) SHUMS HARM OT be EI Mo THE LAC ORUELORI 09 WLR LC BRT. By BRCRCOKOMK, MECH). ROME PAMLLMAOZ BAOMLBATHS, EH ORE BAOLIREROR EMEC, BLAIR REVI Ay MUL HE, BA, We IEA TO Be As turn my gaze upward and see the crescent moon, Tam reminded of the trailing eyebrows of the woman I saw but once, Otome Yaksmochi {Wolome 6,954) ‘There is an expression which comes from Chinese, bgesu, Ie means “eyebrow moon,” i.e, the new moon, the crescent moon. This poem, ‘which refers tothe painted, trailing eyebrows of women in the ancient period, was probably composed talking its hint from the word. ‘This a work thatthe grea poet ofthe late Man'ys period, ‘Yakamochi, wrote atthe age of sixteen. Among the voluminous works of Yakamoci, iis the earliest datable poem. Reading it with an awave- ‘ness of the author's youth makes this poem of transitory love all the more fresh and endearing, Inthe Man'yévh2, this work is preceded by a poem on the crescent ‘moon written by Lady Otomo Sakanous, Yakamochis aunt and poetry teacher. In that poem the Lady tes how scratching her eyebrows brought an encounter withthe one she loved. Azched eyebrows. Slender eyebrows. Prominent eyebrows, Knitted eyebrows. The eyebrows are alive 8Rushey ewopkkwmeess BBE this Eastern woman, centring the hemp that grows in the garden and drying it for cloth in the sun. Do not forget "The Maiden of Hitachimicro ikea FL Sot ke Bhetar Hews (ets) SHEL TRILLS OS, SEMRTOM BK) ELTH TMS. MHRA (MMP) E LTE LEMKE A, HEMET ACR MOR HB) ASB, EMOKMEAHUREBLA CHORMTH Ss FREI ARMADER CI te LORE Jd, aepongnindlil. 08) RAMa oT OLMOF CHS, PAFIMEMSNS EM 2E BE ERMBMEL LTBISG ToT. MAL LTE MCT. PAROLE FREER) (WF & BERPICIK) IC BURT BONS. HAMIL) bhotetebiCmEN RoLY EDI RORBTORRoRMEEAR RLY RIE HotORS I. MEFL, HESS LTHMEVEL REED, BOT CE bRORROBE LOR CH Klo RAED OHMS SREROPIMAS ACHE Bots FERC DREAMS Kok eDTe, PU CHRNCGRENEE LCBO. ice Stents Do not forget this Eastern woman, cutting the hemp. that grows in the garden and deying it for cloth in the sun, ‘The Maiden of Hitachi Wolume 4,521) ‘This appears in the anthology as “a poem sent by the Maiden of Hitachi to her husband, Fujiwara Umaleai, when he returned from his provincial post tothe capital.” It is poem sent to him by a local ‘woman, lamenting her separstioa from him when he completed his tour of duty as the governor of Hitachi the Eastern provinces and. returned to the capital at Nara. ‘This man Umakai was no ordinary offic His father was Pajvara Fohito and his grandfather was the famous Fujiwara Kamatai In other words he was the scion ofthe mest powerfl family ofthe entire Naa period, Just before beng posted tothe province of Hitachi, he had spent wo years aan envoy to Tang China. He was loa fest-zte intelectual, whose Chinese poems appeared in both the Kaif and the “Ketokus, eo renowned anthologies of Chinese writings by Japanese Tera The Topograpy of Hitachi Province also appears to have been compile during his tenure as governor there. Whatsortof charming woman served asthe provincial wife of such ‘man? An "Eastern woman" who, ashe engaged in the rustic labor of drying hemp in the sun fo lt longed forthe capital of Nara, where she herself would never go. Eching a portrait of her own labor into poem, she sent her composition to him, Ural brought it back with him a cherished souvenir, and asa rent found its way int the ‘Mon'yosha.Wee & & z ca $ 0 & 3 g 3 h ie K Q = z & T = 5 & Wee a te Thave fallen into a yearning swith no requite, fora girl who, when night comes, sleeps pllowed in anothers armas ion al uromato ue AnonymousBina Reetan gent AOPRET soul BRR en 2se) RMB ACKAEIRBOT AMID Be 3 Fags Lone Jorn ABEONE fers or~d TR CARILR Dottie DPR AHS ES CHO HCEREDSILABSOK, ABLWIL, EM BEMASREVE OZ OM] LVIOT, [AIH TCRUBM 7) Lv RPSMEMCH ONE. ARMOR ISA, De EB MIRSBY. TA 2] CPL TRORURE MORAL TH SOMES Ey UROL OI, ERATE TH MET SL SRMUMOWE Eo THRE EE GRRE BEF. DUDTBADEEN, FHOMOMBAHT VEKSI EVI COROBOME LL, ABOB CE BENET CHS. Thave fallen intoa yearning. with no requite, fora girl who, when night comes, sleeps pillowed in another's arms. Anonymous [olume 11,2599) In Volume 4 of the Man’yash is the following poem by Otomo ‘Yasumaro: Tf men can touch even the untouchable sacred tree, why can [not touch you simply because you are another's wife? Tis an interesting fact chat men in the Man'yé period, at leastin their poetry, had a strong interest in and attraction to “the wife of another.” One reason for this seems to be that men and women, even if they were married, did not live together, their unions taking the form of “visitation marriages." The majority of men surely shared the lament of this poet that tonight, too, another man was probably visiting his beloved.ii ano aprfoionete wr ybee aki mo faze fk SHSRCIERSNTUBRAR ORE UT RES ~ As I stay here yearning, while I wait for you, my lord, the autumn wind blows, swaying the bamboo blinds of my lodging. Princess Nukata2 BioE dusmomeur Bice xo vee OBR, wae (esas) RWRAOREO—AKo LMBEM [TRA wWelocwsk) bs, mMEOKEENELS PRIETO, eCORREOIEL VHRORD ST. AVCHD. BAO WEES A THARLUKHOMB AS. RHEL, 23 OFHMRLES ECHL THEO Dro. TRROMMAMTD NRE SII IRM MEAT SEBORAAMETILE OB CHERST WOOT, CORR R AMER VS THS. AOEMMAALF RBOR, O BORMEL) OR, OFRORBOMBLAEEE bb, VEWEBbh LVBEEMMTS Atos COORD LMHS, SCRE keotSEOI SL, Bi, EWI LODHe HL MRAOM AICPA BU LIME E BIMED, —200tir [Fi] FOKOE LT, HRAOME Masi ESOS I. AsT stay here yearning, while T wait for you, my lord, theaurumn wind blows, swaying the bamboo blinds of my lodging. Princess Nuksta [otame 4, 88) ‘A eadnote to this work inthe Man'yhi ell that Princess [Nilkata, who was one of the consorts of Emperor Tenchi, “composed this poem thinking ofthe Emperor” There are not that many poems by Princess Nakata recorded in the Man'ySshi this sone of her most ‘loved poems, treasured fr its sensitive lyrical mood, Flere isan image of besutifel woman yearning for her lover to artive. We donot know, however, ro what extent this sore of headnote can be believed. For by the ie the Man'yichi was compiled the legendary beauty Princess Nukats, one ofthe pots of the early period, hd long departed from this world, and the explanatory headnote wa attached byan editor ac this much later time. Princess Nut’ life was such a, ‘to stimulate various erotic fantasies, for she was first the wife of Prince ama (the younger brother of Emperor Tench, later himself to assume the throne as Emperor Temmu) following which she became a consort, of her first husband's elder brother, Emperor Tenchi One things however, i certain here, And that that the protagonist of this particular drama is the autumn wind itself. In the realm of poetry, the autumn wind brought as much excitement as the actual visit of the lover, As a secret premonition of someone's arrival, the exquisite touch of the autumn wind awakened the senses of the ancients‘Sti PORATED OOD HORS): TOK TOR Comet me, aqui and again, ecadrere sipping betnen te jeweled binds, ‘roetne |] Ufmy mother, with her mill-full reas, echene rane eine || sould ask whatis that sound, Jesetomowan Ml ets tell her it's the wind, Anonymousitor 8c Joyoseea RebRO ene metise Bia fen-200 Tbh TeLomMWE, TheOLonHOw eels haw oy eAcRatbhe L5H WALL ALORA OAM SARS. OF DN WB CEOORNDERMEVOSTMPORR EH DEI MORICR ED LUBA, HALON RE LOM BAL RSMRGDS. THEE LOWEN USEAT, Mic TEORMDORETE, $8810 FICRIR 8 Hho THC) EVIE TLE 3. LAL ED REHAIOLOL OMLEV, 2D Rote Awake Wee collate jimcnue fiona HeELT RUD BERIEIL peo sient FO, HOMEM LAY RORLEAOL LBB EAMES LOREM OHS, SHEBC EG LHOWS MCL BOMB LEBORHL MAF. ey Yearning for my woman, 1 gaze into the distance from the pine Felds of Aga ‘And the crane soars, erying, across the lagoon at eb tide, Emperor Shima {Volume 6, 1080) “The pine fields of Aga” are thought to be the name ofa place located ‘on the seashore near the present city of Yokkaichi in Mie Prefecture. the phrase “yearning for my woman” can be seen asa formal device to Since the origina aga no matsubera suggests a ga mateu, "I await” introduce the place name, Such an interpretation, however, would rab the poem of any sense of actual yearning, and turn it into a mere description ofthe lagoon at ebb tide. ‘An interpretation of this sort seems inadequate, There are, for example, the following similar poems: Longing for Yamato, Teannot sleep my sleeps isi right for the crane 10 soar by the islet headland and ery so heartlesly? ‘The erane cries, soaring towards the reedy shore; hhow helpless I feel as sleep alone. ‘There ae other poems aswell in which the cry of the erane serves to deepen the heare's sense of desolation ashe sleps alone, The sound of that cry, spliting the ar, goes well indeed with the figure of aman ripped with the loneliness of yearning. ma Walahas no icsmabyea maki some TASS EARS AR TAS AS Ais ee, Pee Pillowed, fo the frst time, inthe fesh new arms ofa gid lke the young gras: must there be intervals between such nights, though there be no disalfecion? AnonymousBRD Behe E8tOT destin AC oR CE REE (ens-2502) [emo] RIT RHE REHM SAL Bie (RAUF HR ELTBROOR GC GY EV 2 TiS. HMA OL 5 ORAMIEAL OIE! REMATHSM, [HMO] O- BUSEY CHE BV So LUMENS. [EROLIKIVIVLOREAT, ZOFUECHES ASL BORN BOK, EP LTE AEDT EMCR EVRA THOME AOMIMY CATE T WMO. TEC CLARE EEO ROMMLCATE LSND I. SRORMBI OBER HIRSH ET ATE BRR. TO RULED VA BML o CDA EUA IIHR DUAVTHSSLY, MEORTHS. Pillowed, for the first time, in the fresh new arms of a girl like the young grace: must there be intervals between such nights, though there be:no disaffection? ‘Anonymous [Wetume 11,2542) Wakokua no, “like the young gras,” ‘with ture (husband or “wife”) ni (“new") and other expressions. ‘Theresa poem which reads, “Do not burn the Musashi fields today, for my wife like the young grass, is secluded there.” This is a poem about the encounter of unsophisticated lovers during the season when the fields are burned; the mere presence of the phrase “like the young. {grass” serves to envelop the poem in an aura of fresh emotion. a formulaic pillow word used Tn this poem the man has just gotten a new young wife. He laments that there are nights when the two cannot meet, though he is fall of Affection for her. ‘Ancient: marriage took a form in which the man would vist the ‘woman's abode at night. The custom made is sortof poem possible. For some reason unknown to us, the man is apparently unable to make hiis nocturnal visitation. This poem islikea sigh. awHOPS BALL | FADE ARSE Ws 0v et Brave man like the eatalpa bow i that, once drawn, ike eran does not slacken— rmawws0x® | can ibe that he is unable to bear Jeitoiumonse a oe shinobi fencien || the vicissitudes of love? ‘Anonymousan aiacliny \ Tote ek Bewaboe 3 Bvt. ERE einen Tok cH ORBUB Ch, WoATS LITE OF RMDL LEW TSN LIRA, SCH LEBEL, FALIIEL COBBLER EORD el IESE) LV RRL MC THOR OT COM BHROD. TIVIBH MLS, LOHBL OR (PoTETHEED CE DERUIHS BERLE ANCHE, LMT SEE OTA RORIC, He RAMOS LMC BLES LU. [Hl REA ces eOTa.S, HAE Ox ORVORELTMLEDTRUROK, BOW, Daiinny BoC LD MBIA be ESOL fiche oct Bolin Ss BEM TERME SE COM ehonEY JE EAT ROT OROKECAMHATHS, Brave man like the catalpa bow that, once drawn, does not slacken— can it be that he is unable to bear the vicissitudes of love? ‘Anonymous [Watame 12,2987) ‘The word masura 0, "brave man,” refers toa trong and splendid ‘man with a stalwart heart, The ancients seem to have thought it unique- ly strange and interesting that such a“brave man” would find himself powerless to resist the invisible passion of love, which sprang suddenly atm from nowhere. “Love” is almost a living thing, Prince Hezumi authored the following humorous poem on the subject: Tocked and secured it inside the chest in my house, but now that rascal love leaps out at me! ‘A-note to this poem in the Man'yasha tells us thatthe Prince recited it when in high spirits on drinking occasion.8 DEES Fe EE AST SEE BENG Me GEEK He ESR ‘They all cell me that my hair hangs too long Hite mina we a Comme ‘newe mguhivo |] that should putit up. stew its |] Bot donot cai this sir dha you sae ‘rerio should stay disheveled. ‘The Daughter of Sono Teuheabe ARLE REAL iy BeRLE ances tsa SHdke v7 SeMBAME NS AoIwE MER Re PRUZHEMEL, TAO BVB OR. L PLBMUE OR CRRICID, SHOE LEBAS LEMCR EC tore RMELACHNIREH Ore [ica CHD IRR, HRD RUET Bowe Ol, LOTS EOITRVNS, BERR MEAD THA TLE ORE EHS Al ERUH LCE LOME OM, TAR, BOR CRDT Rita, HATAADKSL (BL, EEVET, Cero ECHO, BERD BRE HOMUATORECLTVET, RELA hewcbs HAESOMTEOROMMENTO SA HH AWKIHD DET, BS EOEECLTBEI ET BEM ORO LU. ‘They al ell me that my hair hangs too long, that I should patit up. But do not car if this hair that you saw should stay dishevelled, ‘The Daughter of Sono Taha [Volume2, 124] ‘A-man named Mikata Sami wed the daughter of a person called ‘Sono Tuba. Sami was deeply in love with the girl, and she too yearned for him. But Sami shordy afterwards took ill and became unable to ‘make his conjugal visit to his young wife. In his sadness he sent her @ poem. The poem was about her hair, “too short ta be bound up, yet too long to leave hanging.” He said that since he was unable to visit her ‘recently he imagined that she must have puta brush to her hair and straightened it. In the poem above, the girl responds by telling him thet people around her tell her her hair i too long to leave unbound, that she should put it up like a proper young lady. But she insists on keeping it in the state it was the last time she saw him—even if dishevelled. As other examples of poetry suggest, ie was the custom of the ancients to keep theic hair in che state in which the lover left ie until they could meet again, HS| ee Boe CRO SH eH BSE CAS ar I shall not tae a brush to this hair chat lies unetekeag || disheveled in the morning, wruwathiti for it retains the touch inigeteahoe “frcestimonee || of my dear lord's arms that pillowed me. ‘Anonymousandi MAT LEOe BKa (ant-257] BOPMC EEA, BOR kb LOW AAREM ANT TOLEEL THEIL BOTS OCHS, DIMMER. COSBORBE, F260 EOERELWTRERVEVIVETURTE A, ib, ROIS CMO OMLUBIES 6 MILA I BLODES DStOm LUIS 3. EROBKOBH HAVA Bioko s Le BHOTLEING, CARRERE TS BEG doth LAL, VFRELTS, HOLA BRE, ADELA LS SMBRDORLOMMIE STWREMAS, COMI DIR KikoM CE ebAL baRBON, heer < LA, MFSBLLOROTHS. KGINET, BWEMAT, Oe onze ACCEL AVE MMR MEE ee Ce Dvds. I shall not take a brush to this hair chat lies disheveled in the morni fort retains the touch ‘of my dear lord’s arms thet gillowed me. Anonymous {Watume 11,2578) A woman, after passing the night pillowed in the arms of a man, declares that she will not straighten her hair after he leaves, that she will keep it as itis. The intense emotions of a woman who would keep ‘exactly as they are the traces of love that remain on her body. From an aesthetic point of view, its somewhat problematic ‘whether the dishevelled hair of a woman in the morning is worthy of extended appreciation. Inthe case of men and women in the ancient period, since the man would leave the woman's abode in the dim light just before the break of dawn, that probably was no cause for worry. In ‘any case, even the simple act of takking a brush tothe hair was apparent- ly accompanied by a sense of awe atthe hair's mysterious power, a power beyond any merely human strength. ‘Thus the woman strokes her dishevelled hair, and cherishes to her heart's content her own dishevelled state, as she thinks longingly of the ‘man she loves. [Keeping her hair in its unchanged state and keeping tied the sash of | her clothing that had been joined with his until their next encounter the animistic sensibility was still very much alive, 1SRE C REO AT TIMER tak SP ESD i x By i |] My thoughts ae of my gir her hair, pated inthe mide, Fariaske no emiemiitem’ || ist00 short o be rised and ved oa a {emi sittoren ee sooskiscomoe || and soin itshe bundles green leaves. Anonymous1 Bio ella rete BER oe Hetil BRE eine) 2 REMAN ORME RET ME OR EH Dibok. MARE CHLRENORTAY YER APY I OWE LLORWES I. PAI VETIT ORD ELT. BHOMCHSREMSH, HdN ORL ROTLES. BAHT [ALD OMB! LYIOERILTES 3 YEW ORBBOMBDE LTikEV. HL CHER tet, MPOI EES FY EVOROTHS. Motto Poss KYLA EDK, & YORE HOUR RATE OTe PWV EAS Seta CHED (Ce DR ERT PESO, MES LBRO LS oa CHIC DTWSEOEBE, HCL 2 TAMOE SD CAME Db. My thoughts are of my girl: her hair, parted in the middle, is too short to be raised and tied like a woman's, and soi itshe bundles green leaves. Anonymous (Wetume 11,2540} ‘The sensibility which saw hair asa symbol ofthe mysterious life force was common to East and West. A typical example isthe Famous sory in the Old Testament of the powerful hero Samson and his lover Delilah. Through Delilah’ treachery, Samson's hair, the source of his power, is cutoff, and he is caprured by the enemy. Similarly, in Japanese there isthe phrase midori no Rurokemi. Here ‘midori docs not mean “the eolor green.” Rather it refers to new sprouts, ronewly sprouted life. As a red-faced newly born baby is called a midorigo, so midori no kurokams, “fresh black hai symbol of the life force. A young wife whose parted hair was too short to be tied like a ‘woman's, and who instead tied bundles of fresh green grass in her hair, ‘made a man's heart throb, for such a girl represented for him the force of life ise. "isa straightforward BsWa gastos sic ocihh te no hana io fest "The plum blossoms that I thought I would show to my man cannot be distinguished now from the falling snow. Yamabe Akabitoseat sevewor WoT ERE OBAT Somnus Wa EL (as-sazs) TRE) EV3 OAR LCV Beh 2 OFE HS, KAWA, LLB. TIL MUCH Mabie. ALONE LTS RICE ORE VRE. MPRA ESABCHE. LOAM [RIE FE] LWCRCHSONHS, CHUBORARBTR TiS 3 LR BOK-GEM, LL (PRR AIC KRD Ro CH ORMEBATEBPL Cito. BA XPOERT MHELTEBELAWOIL Bike MO Ro Cho Riese MEARE) Lea BS Oi TOMES 2 9 LIB OMROLL NS tke Atos LRA RHORT, AibotenmAe BY, Yom SERCH TRRELED LM TOK DEYN CRERATHOR EEA, & METIS AK. Mabe S re ELOMICWT Riko, COMBAT OREM LTHU ORNS E_COTROREOLMGS, MELII ETAL ROLL OS RLM, Litto TEORLEIE DARL Hb, WoAMMIT CET SEDOETH Be ‘The plum blossoms that T thought I would show to my man ‘cannot be distinguished now from the filling snow. Yamabe Akshito [olumes, 126) Seko, literally “brother,” translated here as “my man," i usually used by a woman addressing a man, Itis directed to a husband, lover or brother. However, after a certain point in the ancient period we find the word also used by men addressing close male frends, ‘Yamabe Akshito was, ofcourse, a man. Should we assume from his use of the term “my man" that this pocm is addressed toa male friend? But it would also make sense to interpret the poem as Akshito's ‘composition in place of a woman. An interesting problem in the history of Japanese literature is that, although we find many examples of men ‘writing as women (the most famous is The Tosa Diary), almost no ‘cxamples ofthe reverse come to mind. ‘The poet thinks of her lover as she stands before the white phim ‘blossoms in the garden; is early spring, and the snow is falling thick. and fast. The poet thinks: the blossoms I would pick and show you are 0 white I cannot distinguish them from the falling snow. If we put aside the fat that the author is @ man, the poem can be read as a ‘coquetish appeal from a woman to the man she yearns for. If this were ‘painting it would bea difficult composition indeed: white depicted on white. Ifone were to emphasize the beauty ofthe flowers themselves, ‘one would have no choice but to make them red plum blossoms,CVESHBE AMC TT | HHRESHSCH 2 If just for a moment, my lord, atinjng 10 Bve viewed together wih you ‘na sukura-bane |} the blossoms of the wild cherries we iamete on the foothill-rsiling mountsin, ‘arctoinwme || would Ibe caught in yearning like this? rome YakamochibLORO inhi Bric RELETE Bevery WER (err-sor] A EROXARMORIMN, BAL ORIEED CHA, SMOPD LY CRAM, ULALBAMLL ESE Vbowdbok. Come [B) Lebncsmee NT, PT OREO TH AMEE Ae SRA OMMMS). WELOMIE MARSRACOREMD TYE DEC BLM, ke Dwi DBD D. BEM CURNAON CRORES RO, PFC EVEMD LAL SUBD DKON, WEORR Mae FROME, IIL o CHER SEA MURLE ote FOAMS. MBER BRELRD BORLA TRROKL, [-BCOHERL HE KRONKS, MOROESE SEC ABIBLIHSS EvRVoK] Emweon. Ifjust for a moment, my lord, T could have viewed together with you the blossoms ofthe wild cherries ‘on the foothill-trailing mountain, ‘would I be caught in yearning like this? roma Yakamochi [Wotume 17,3970) Judging at least from the expressions found in letters exchanged by ‘ancient literary aristocrats, the emotions of fiendship hardly differed from those of love. Such isthe case with the friend, addressed ere as “my lord” (the form of address used by women to men), whois in facta subordinate of the author Yakamochi, the governor of Eich provinee at that ime, a man named Oromo Tkenushi ‘Yakamochi had just recovered from a serious illness and was ‘exchanging missives with Tkenvshi a intricate as love eter. There ‘were aks poems, Chinese poems, Chinese prose compositions ‘The most precious thing fora man who found himelfin the provinces faraway from the capital, was a cultured frend to whom he could revel his feelings in poetry and prose. The subordinate Tkenushiy with his erudition inthe Chinese classic, was indeed a kind of lover for ‘Yekamochi. Responding to an expression {rom that person of his desire to show him the wild cherry blossoms, if only fora moment, Yakamochi answers that fhe could have viewed those blossoms together with him, ‘only for a moment, he woulda’ be sunk ino yearning for such mere flowers now. 1CH SMIREN EROS ARRE OWS Ce Tam the wife who chastely remains aniine || #8328 088% alk the oar, secubatgsaky |] crossing eight peaks yaievo ee where bloom the wild camellias ‘met Ki a situa ere |] of te footill-tailing mountain. Anonymous3s aLDEo iio < Aowkiar iteoma Holes RAE aria (ROK) O40 718 MBAR TARRSH, HO BMY SLES, ROME, BLORMEMST PEOOLATBHBE WILE y STCOMI, MESAEMBEOR ML TRAT VEO CHA, [MPO the SMA TEESE JEMERRL TRADER, EOHLLORVELO Thad, COMI! ROLE, Hales h PAM, KA 21D, MEAL TLOMTL PRONE OO HDI. RELIORAMOIIG ko tiiewev, He ELTES VS MMOLE ESVEB LEO TAS, FCS OL OTNAOMENLT, Joa, Wok RAMOS, LATHRODE LBA TER OCHS. VIOERSAME ID. Tam the wife who chastely maine 48 you gout wostal the boar, crossing eight peaks ‘where bloom the wild camellias ofthe fothil-trailing mountain Anonymous [elume7, 1262) ‘The verb iwaf, which goes with “wife” here, means to avoid human ‘contact and remain alone and chaste. It refers to a wife who keeps herself secluded and pare, refraining from contact with men, Tn this poem, such a wife is addressing her husband, telling him that while he is away she remains in a pure state In ancient life, when the man set out into the mountains to hunt the wife would remain secluded and chaste, praying for his safety and the suceess ofthe hunt ‘But this is not poem by a hunter's wife. Here the poet is employing. the image of such a woman asa metaphor. Recently the man has been neglectful in his conjugal 5. The wife expresses her resentment by comparing herself facetiously toa woman bound to ritual chastity. A lament that perhaps never changes throughout history. 6syaa Masayaki sem. ams. SRB RM EH, MIO OUREML, ~LOME—#O smb LVEMDRORAE, RLS BURL CEE, 18, TEAC KOUEI HUREND, 5, BSUSORIEE ELC, LORETO. FEAL LT SCREAMER. STAR 1S RINE re BLBIRAEN ERE, eRoe- RLM sor, LoD iE (RAURICTISOUTHI, Fe), HOOT eI 3. “urilentor Born jn Tokyo in ‘THe was dicvered by the din died writer Tania onehir6 and FT wenton to cea hit own dnc. finite (eau rations). His tut irae nade with mere sees sper and a eating blade, have wan Staton forthe exepional accesi- 10 people from al eountries In 1981, ek Japon Pid wa sled for ‘modern religious arcallecton in the ean Mou. 955, dhe bent ‘nniversary ofthe UN, Miata wae ste fam among con Aide robe the UN rat Japanese ood the post Fis series Red Pj, wt reproduced in ‘cl ited edition. Migs continued acl engage in icernationa art, ler hie death in 937. is rece= ‘ative works inde aaraions for ‘are Read Oy, The Tale of iand The Taef he Bombo Caster FETE Oota makowo PA SRS. NERO, SOURCE, MRE ERE, HERE, REAR, PASCRIGAET, LRRIAR. 1850 — HM EMER] CER Sha, INEREIRRZIC VIELEN, Leos RIE 4 O9%) GiaMy CHAREST, Hee HN ASLOREIED BRORARM CORTE Acne. TROIS ARS Postand ierary xe. Bor ia Shizuoka Preferture a 131. oka graduated fran ‘Tokyo Unive. His Kise to gor! (0956, Memory and the Pretend ia vole ‘ume of poe rich niles yin, ‘Among his ther wring are 730 ‘ett (190, Lineage of Profligatl Kimo ‘Tarayali (1971), a te poet who compled the Koki poetry anthlogy, ‘nd Niko hi i (978, Tree "ough Japanese Poet) Japan's mest renonned contemporary corumenator en ‘ost, Oka has publshed a miber of ‘Volumes of Orirno me (1979, Poems for All Seasons), ken rom his ong-un- fing newpaper colin in the Ant ‘Shimban Hoke YEH Lan Hideo Levy fh, ISORAMIN TEV =T HIE, DRRREEE SBCA, IVAW AER, BRE, 29772 FRBORIELT, DRE MSL PERARLORHRC ED, 182i, SERRE, 1967018, DRED, MNO, 297 72 E OBRomeRL, RORCRET., RHEE Lao CEH tREOD. FEL, BARD READUMRIUMRA, 928) e mmemARESR. RE, CCE BR TOKRORAY xem [rere Pept ANB, IR, Novelsand solr of Japanese itera- ture: Born in California in 1950 and ‘scat in Tswan, Ameren and Japan. Griated from Peieston Universi, Where heated and aug Japanese Tieratur, Levy became Aaite rofesiorof Japanese Literature ‘Stanford Universi Fle esived the ‘American Bole Atvard in 1982 fo ie ‘raslation ofthe clase Japenese pocty sthlogy, the Man'ysh ‘Withee publication f Sei no ike ‘ai hey (1992, The Room Where the Sar-Spanped Banner Cannot Be Heard), which won the covered Noms Prize for New Weiter, Levy became the ise Wexerer ever tobe recognized 184 weiter of orginal Japanese con. HII AY Donald Keene BERR SOE RR AN, Laas, SOETAPCISLELEORR, PIPVVIRA BRE REC BARREN, MeSH SoC super keuR. PORMTOAR ELI o76se~ ow IEW). ROME) RAL EOMS (aueyaraes, eemnmatn, XSi, = RBELE ORGS. DSCOMRM Me ADEOK MRL, oeese Ic TRE, 75 Bez Hee oleic Ee, SSRCMAREEERH THE, US scholar and tanta of fapanese Irate. Born in New York Cy in 1022. Keene graduated from Calurnbin Univessiy, where he ceived a PhD. ia 1951 and tught fom 1955 to 1982: He seu Japanese iterate at Cambridge Univesity in England end Kyoto ‘Univers. His echolly pueations, ‘ang ine from a sudyof the Keio discussions of contemporary it- ‘ature, hive established the foundations forthe appreciation of Japanese literstire inthe West Keen hasbeen awarded the Kikuchi Kan Pris (1960), the Order of the Rising Sun (1979), the Japan Foundation Award (1981) nd the Acai eae (1998) fr his cotribution to the sady of apes literature Publlation include Tel of Hundred Age (1984, winner ofthe ‘Yomiuri Literature Prize and the Shincho Grand Prize; foorvolme his- | toryoffapanseteratace—Seeds in he Hear (1983), World Witkin Wall (1976, ‘Dano othe Wet (2 vol, 198/)—a8 well ‘s numerous traslaton 19re Songs from the Man'yashit Veena wine ‘Fenua Bane ve Hae = ne ket Four x MM27—Fy08—o=y eal 8 Fe amex FO INL e— permet Fries YotenenesT 16 Tie costco (ana) tiie (Re RN a sore Sm totem S.RTRURARNEMBOS2 mULI2y—pvernRN EhbGisw, aplaamecomyeancl ty ee coee coimuaben MamalcuBuvelEt, HORS anmissconbvens. avoncnet Ba eMRLe DET. GR ny i nb ata tr a de Lary Secondo Lis Peed stynasert