Everything is Oll Korrect!

An eclectic bibliophile's journal…

Tag: Hyakunin Isshu

First Friend: Fujiwara no Masatsune, “Hyakunin Isshu 94”

The first friend we’re making in the Hundred Friends project is Fujiwara no Masatsune, a Japanese poet and editor who lived 1170-1221. His picture and this poem is on the card to the right, and you can read a little more about both over here, if you like.

As I mentioned in the introductory post, this will mostly be an English project, but since the idea came from the Japanese anthology Hyakunin Isshu, I thought it would be appropriate to begin with a poem from that collection. This is the ninety-fourth poem in that book, and in Mostow’s translation goes like this:

Fair Yoshino,
the autumn wind in its mountains
deepens the night and
in the former capitol, cold
I hear the fulling of cloth…

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A Brief Introduction to Ben Jonson and the Cavalier Poets

Whenever I think of English poetry, the first style to come to mind is something like the Cavalier poets. For me, their work is the good stuff; no multi-page bouts of navel-gazing in free verse here. Nope, this is good old-fashioned metrical writing with regular rhyme schemes, and what does a good Cavalier write about? Put simply, the good life – the love of beautiful women, a comfortable home in the country, close friends, duty, and at times, the loss of those things.

Of course, the Cavalier poets were a fairly large group and thus did have some variety in tone and subject; Norton Critical Editions’ Ben Jonson and the Cavalier Poets, the compilation I’ve just finished reading, includes eighteen different writers, making it a solid introduction to the breadth of the school. Jonson is, deservedly, the most famous, and fairly representative for the rest. For example, here’s the first part of “To Penshurst,” which was the first “country house” poem in English:

Thou are not, Penshurst, built to envious show
Of touch, or marble, nor canst boast a row
Of polished pillars, or a roof of gold;
Thou hast no lantern, whereof tales are told,
Or stair, or courts; but stand’st an ancient pile,
And, these grudged at, art reverenced the while.
Thou joy’st in better marks, of soil, of air,
Of wood, of water: therein thou art fair.
Thou hast thy walks for health, as well as sport;
Thy Mount, to which the dryads to resort,
Where Pan and Bacchus their high feasts have made
Beneath the broad beech and the chestnut shade;
That taller tree, which of a nut was set,
At his great birth, where all the Muses met.
There in the writhéd bark are cut the names
Of many a sylvan, taken with his flames.
And thence the ruddy satyrs oft provoke
The lighter fauns to reach thy Lady’s oak.
Thy copse, too, named of Gamage, thou hast there,
That never fails to serve thee seasoned deer
When thou wouldst feast, or exercise thy friends.

That one is fairly long, but personally I tend to prefer short poems with a strong image, similar to what I discussed in the Hyakunin Isshu. Of course, Jonson could do that, too:

Swell me a bowl with lusty wine,
Till I may see the plump Lyaeus swim
Above the brim;
I drink as I would write,
In flowing measure, filled with flame and sprite.

“Lyaeus,” by the way, is Bacchus; Jonson and some of these other poets, but again, not all, are rather fond of references to Classical literature and mythology. Often context is sufficient to get the gist of a poem even if one isn’t familiar with these references, but be ready to check with footnotes somewhat often on some of these.…

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One Hundred Leaves (75 Books LXVI)

There are only two groups of Americans who are likely to know about the Hyakunin Isshu, literature enthusiasts who’ve taken an interest in Japan, and fans of the comic and anime Chihayafuru. I’m certainly the former and like the latter enough to have imported the French edition, so Frank Watson’s One Hundred Leaves: A New Annotated Translation of the Hyakunin Isshu seemed like a must-have to me.

If you’re not in either of those groups, the Hyakunin Isshu is an anthology of one hundred poems, each by a different poet, compiled by poet and critic Fujiwara no Teika around 1237. For readers, myself included, who don’t have a lot of experience with Japanese poetry, Watson does offer a few things to help us out. There’s a short introduction on appreciating this style of poem, annotations explaining the intricate wordplay that characterises these works, and a “literal” translation of each poem to supplement the main translation. He also includes the original versions, both in Japanese script and English transliteration, for those who either know a little Japanese or want to read them out loud. Finally, he also provides a painting from traditional Japanese art to complement each poem. Unfortunately, a few aspects of the presentation do fall short of the ideal. The pictures are in black-and-white with no indication of the title or artist, and it’s sometimes hard to see what the picture has to do with the poem it ostensibly illustrates. Not all poems have annotations, either; some stand on their own well enough not to need much explanation, but it would be nice to at least get a short biographical note about the writers. The annotations also get a little repetitive; for example, he explains several times that the image of “wet sleeves” indicates wiping away tears.…

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