KKS 16 - Revision history

Fujiwaranoteika at 17:52, 4 June 2026

2026-06-04T17:52:02Z

← Older revision		Revision as of 17:52, 4 June 2026
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	== Text ==		== Text ==
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	Finally, Matsuda notes that the use of the fields and the warblers provides a transition between the group of warbler poems and the upcoming poems dealing with picking young shoots in the field.		Finally, Matsuda notes that the use of the fields and the warblers provides a transition between the group of warbler poems and the upcoming poems dealing with picking young shoots in the field.

	[[KKS 15\|Previous poem]] \| [[KKS 16\|Next poem]]		[[KKS 15\|Previous poem]] \| [[KKS 17\|Next poem]]

	[[Category:Spring]]		[[Category:Spring]]
	[[Category:Warbler]]		[[Category:Warbler]]

Fujiwaranoteika: /* Analysis */

2026-06-04T17:51:46Z

Analysis

← Older revision		Revision as of 17:51, 4 June 2026
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	== Analysis ==		== Analysis ==

	Fujiwara no Toshiyori (12th c.) gave this as an example of a poem that was good but had rough or unskilled wording. This could either be the 2nd or 5th lines (or both). The idea seems to be borrowed from older poetry, particularly these two ''Man'yōshū'' poems:		Fujiwara no Toshiyori (12th c.) gave this as an example of a poem that was good but had rough or unskilled wording. This could either be the 2nd or 5th lines (or both). Kaneko(1927) seemed to agree with Toshiyori's criticism of the wording, but he praises the deep feeling and the elegance.

			The idea seems to be borrowed from older poetry, particularly these two ''Man'yōshū'' poems:

	~~The poem received praise from {{Denju\|Shohaku}} for its older style construction. This poem seems to be in the vein of older MYS style poetry, such as MYS 10:1829:~~
	{{Quote\|梓弓春山近く家居らば継ぎて聞くらむ鶯の声		{{Quote\|梓弓春山近く家居らば継ぎて聞くらむ鶯の声

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	My house is in the hills where plum blossoms bloom, and so I hear the profuse cry of warblers.(1820)}}		My house is in the hills where plum blossoms bloom, and so I hear the profuse cry of warblers.(1820)}}

	The skilled use of は in the last line is noted by several commentators. Since ~~{{Edo\|~~Mabuchi}}, commentators have read this as someone from the capital who is living in this rural home against his wishes. Nothing there is to his taste except for the voices of the poetically appropriate warblers, which recall his life in the capital. The use of ~~あさなあさな~~ at the end shows a boredom with the sound, or perhaps emphasizes that he is repeatedly reminded of the capital.		The skilled use of the contrastive/limiting "wa" in the last line is noted by several commentators. Since Mabuchi(18th c.), commentators have read this as someone from the capital who is living in this rural home against his wishes. Nothing there is to his taste except for the voices of the poetically appropriate warblers, which recall his life in the capital. The use of "morning after morning" at the end shows a boredom with the sound, or perhaps emphasizes that he is repeatedly reminded of the capital.

	However, {{Modern\|Masuda}} reads the poem simply as joy in hearing the warbler, without any implication that the poet does not want to be in his current circumstance. {{Oldest\|Kencho}} also had an entirely different reading of the は; that warblers do not normally cry at dawn, but since the poet is out in the fields he can hear them even in the morning. Finally, the {{Nativist\|''Chokudenkai''}} reads the は as expressing annoyance that the warbler is the only cultured thing he can hear out there.

	~~{{Modern\|Kaneko}} seemed~~ to ~~agree with Toshiyori's criticism~~ of the ~~wording~~, but he ~~praises the deep feeling and~~ the ~~elegance~~.		However, Matsuda(1968) reads the poem simply as joy in hearing the warbler, without any implication that the poet does not want to be in his current circumstance. Kenshō(12th c.) also had an entirely different reading of the "wa"; that warblers do not normally cry at dawn, but since the poet is out in the fields he can hear them even in the morning.

	Finally, ~~Masuda~~ notes that the use of the fields and the warblers provides a transition between the ~~block~~ of warbler poems and the upcoming poems dealing with picking young shoots in the field.		Finally, Matsuda notes that the use of the fields and the warblers provides a transition between the group of warbler poems and the upcoming poems dealing with picking young shoots in the field.

	[[KKS 15\|Previous poem]] \| [[KKS 16\|Next poem]]		[[KKS 15\|Previous poem]] \| [[KKS 16\|Next poem]]

Fujiwaranoteika: Created page with "Previous poem | Next poem == Text == 題しらず Topic unknown よみ人しらず Poet unknown 野辺近く家居ゐしせれば鶯の鳴くなる声はあさなあさな聞く {{PoemPair |orig= nobe chikaku ie-i shi-sere-ba uguisu no naku naru koe wa asana-asana kiku |trans= Near the fields Is where I live, and so The bush warbler The voice of its cry I hear Morning after morning. }} ==..."

2026-06-04T17:49:08Z

Created page with "Previous poem | Next poem == Text == 題しらず Topic unknown よみ人しらず Poet unknown 野辺近く家<ruby>居<rt>ゐ</rt></ruby>しせれば鶯の鳴くなる声はあさなあさな聞く {{PoemPair |orig= <poem> nobe chikaku ie-i shi-sere-ba uguisu no naku naru koe wa asana-asana kiku </poem> |trans= <poem> Near the fields Is where I live, and so The bush warbler The voice of its cry I hear Morning after morning. </poem> }} ==..."

New page

[[KKS 15|Previous poem]] | [[KKS 16|Next poem]]

== Text ==

題しらず

Topic unknown

よみ人しらず

Poet unknown

野辺近く家<ruby>居<rt>ゐ</rt></ruby>しせれば鶯の鳴くなる声はあさなあさな聞く

{{PoemPair
|orig=
<poem>
nobe chikaku
ie-i shi-sere-ba
uguisu no
naku naru koe wa
asana-asana kiku
</poem>

|trans=
<poem>
Near the fields
Is where I live, and so
The bush warbler
The voice of its cry I hear
Morning after morning.
</poem>
}}

== Notes ==

== Analysis ==

Fujiwara no Toshiyori (12th c.) gave this as an example of a poem that was good but had rough or unskilled wording. This could either be the 2nd or 5th lines (or both). The idea seems to be borrowed from older poetry, particularly these two ''Man'yōshū'' poems:

The poem received praise from {{Denju|Shohaku}} for its older style construction. This poem seems to be in the vein of older MYS style poetry, such as MYS 10:1829:
{{Quote|梓弓春山近く家居らば継ぎて聞くらむ鶯の声

My house is near the summer mountains, and so I continuously hear the warbler's cry. (1829)}}

{{Quote|梅の花咲ける岡辺に家居れば乏しくもあらず鶯の声

My house is in the hills where plum blossoms bloom, and so I hear the profuse cry of warblers.(1820)}}

The skilled use of は in the last line is noted by several commentators. Since {{Edo|Mabuchi}}, commentators have read this as someone from the capital who is living in this rural home against his wishes. Nothing there is to his taste except for the voices of the poetically appropriate warblers, which recall his life in the capital. The use of あさなあさな at the end shows a boredom with the sound, or perhaps emphasizes that he is repeatedly reminded of the capital.

However, {{Modern|Masuda}} reads the poem simply as joy in hearing the warbler, without any implication that the poet does not want to be in his current circumstance. {{Oldest|Kencho}} also had an entirely different reading of the は; that warblers do not normally cry at dawn, but since the poet is out in the fields he can hear them even in the morning. Finally, the {{Nativist|''Chokudenkai''}} reads the は as expressing annoyance that the warbler is the only cultured thing he can hear out there.

{{Modern|Kaneko}} seemed to agree with Toshiyori's criticism of the wording, but he praises the deep feeling and the elegance.

Finally, Masuda notes that the use of the fields and the warblers provides a transition between the block of warbler poems and the upcoming poems dealing with picking young shoots in the field.

[[KKS 15|Previous poem]] | [[KKS 16|Next poem]]

[[Category:Spring]]
[[Category:Warbler]]