KKS 39 - Revision history

Fujiwaranoteika: /* Analysis */

2026-06-12T17:27:55Z

Analysis

← Older revision		Revision as of 17:27, 12 June 2026
Line 50:		Line 50:
	The next three poems are on the scent of plums at night. A direct reading of the preface would place Tsurayuki on the mountain, crossing over at night, still able to smell the plum blossoms despite not being able to see them. Katagiri’s analyses tend to focus more on poetic topics and screen paintings, and his reading here is that these are plums that have been planted in people’s gardens – even at night we can find our way to these houses by following the scent.		The next three poems are on the scent of plums at night. A direct reading of the preface would place Tsurayuki on the mountain, crossing over at night, still able to smell the plum blossoms despite not being able to see them. Katagiri’s analyses tend to focus more on poetic topics and screen paintings, and his reading here is that these are plums that have been planted in people’s gardens – even at night we can find our way to these houses by following the scent.

	The theme of flowers at night was borrowed from Chinese poetry, particularly that of the middle Tang period (see the ''Shintaikei'' commentary). This borrowing of Chinese imagery and technique, common in all eras of Japanese poetry, may have served to increase the prestige of Japanese poetry at a time when Chinese poetry was still regarded as the pinnacle of art. McCullough’s analysis is especially detailed: "[Tsurayuki] puns, but makes the device unobtrusive by relegating it to a subordinate claus...The wordplay...supplies the wit demanded of a formal seasonal poem...[it is a] better poem than [it] seems in translation. The diction is polished and elegant, the wordplays are effortless" and "Tsurayuki’s efforts to incorporate traditional rhetorical devices…sprang from the conviction that the seasonal waka was to be regarded as the quintessential hare no uta, the most important Japanese poetic genre and the one most capable of competing on equal terms with the shi.” (Brocade by Night, 229 and 412)		The theme of flowers at night was borrowed from Chinese poetry, particularly that of the middle Tang period (see the ''Shintaikei'' commentary). This borrowing of Chinese imagery and technique, common in all eras of Japanese poetry, may have served to increase the prestige of Japanese poetry at a time when Chinese poetry was still regarded as the pinnacle of art. McCullough’s analysis is especially detailed: "[Tsurayuki] puns, but makes the device unobtrusive by relegating it to a subordinate claus...The wordplay...supplies the wit demanded of a formal seasonal poem...[it is a] better poem than [it] seems in translation. The diction is polished and elegant, the wordplays are effortless" and "Tsurayuki’s efforts to incorporate traditional rhetorical devices…sprang from the conviction that the seasonal waka was to be regarded as the quintessential hare no uta, the most important Japanese poetic genre and the one most capable of competing on equal terms with the shi." (Brocade by Night, 229 and 412)
	Katagiri provides an additional comment on the use of place names in the Kokinshu: although they may seem trite, their ability to immediately call up certain associations and imagery focuses the attention of the poem.

			Katagiri provides an additional comment on the use of place names in the KKS: although they may seem trite, their ability to immediately call up certain associations and imagery focuses the attention of the poem.

	[[KKS 38\|Previous poem]] \| [[KKS 40\|Next poem]]		[[KKS 38\|Previous poem]] \| [[KKS 40\|Next poem]]

Fujiwaranoteika at 17:27, 12 June 2026

2026-06-12T17:27:35Z

← Older revision		Revision as of 17:27, 12 June 2026
Line 47:		Line 47:

	== Analysis ==		== Analysis ==

			The next three poems are on the scent of plums at night. A direct reading of the preface would place Tsurayuki on the mountain, crossing over at night, still able to smell the plum blossoms despite not being able to see them. Katagiri’s analyses tend to focus more on poetic topics and screen paintings, and his reading here is that these are plums that have been planted in people’s gardens – even at night we can find our way to these houses by following the scent.

			The theme of flowers at night was borrowed from Chinese poetry, particularly that of the middle Tang period (see the ''Shintaikei'' commentary). This borrowing of Chinese imagery and technique, common in all eras of Japanese poetry, may have served to increase the prestige of Japanese poetry at a time when Chinese poetry was still regarded as the pinnacle of art. McCullough’s analysis is especially detailed: "[Tsurayuki] puns, but makes the device unobtrusive by relegating it to a subordinate claus...The wordplay...supplies the wit demanded of a formal seasonal poem...[it is a] better poem than [it] seems in translation. The diction is polished and elegant, the wordplays are effortless" and "Tsurayuki’s efforts to incorporate traditional rhetorical devices…sprang from the conviction that the seasonal waka was to be regarded as the quintessential hare no uta, the most important Japanese poetic genre and the one most capable of competing on equal terms with the shi.” (Brocade by Night, 229 and 412)
			Katagiri provides an additional comment on the use of place names in the Kokinshu: although they may seem trite, their ability to immediately call up certain associations and imagery focuses the attention of the poem.


	[[KKS 38\|Previous poem]] \| [[KKS 40\|Next poem]]		[[KKS 38\|Previous poem]] \| [[KKS 40\|Next poem]]

Fujiwaranoteika at 17:06, 12 June 2026

2026-06-12T17:06:57Z

← Older revision		Revision as of 17:06, 12 June 2026
Line 5:		Line 5:
	暗部山やまにてよめる		暗部山やまにてよめる

	Read at Kurabu ~~Mountain~~		Read at Mount Kurabu

	貫之		貫之

Fujiwaranoteika: /* Notes */

2026-06-12T17:06:45Z

Notes

← Older revision		Revision as of 17:06, 12 June 2026
Line 36:		Line 36:
	== Notes ==		== Notes ==

			;Mount Kurabu
			:The exact location is unknown, with a number of possibilities offered in both ancient and modern sources. The main function in this poem is to play on the word ''kurashi'' ("dark").

			;Fragrant
			:The word ''niou'' can refer either to the brilliance of blossoms or their scent. Which meaning is intended in any particular poem can often be difficult to tell (possibly both meanings are meant). Almost everyone who provides a comment on this poem says it means "scent" here, with Takeoka offering a detailed analysis of Tsurayuki’s own use of the term.

	Other sources:		Other sources:

Fujiwaranoteika: Created page with "Previous poem | Next poem == Text == 暗部山やまにてよめる Read at Kurabu Mountain 貫之 Ki no Tsurayuki 梅の花匂ふ春べは暗部山闇に越れどしるくぞありける {{PoemPair |orig= mume no hana niou harube wa kurabuyama yami ni koyure-do shiruku zo ari-keru |trans= In the time of spring With fragrant plum flowers Though we cross over The darkness of Mount Kurabu It is stil..."

2026-06-12T17:05:42Z

Created page with "Previous poem | Next poem == Text == 暗部山やまにてよめる Read at Kurabu Mountain 貫之 Ki no Tsurayuki 梅の花匂ふ春べは暗部山闇に越れどしるくぞありける {{PoemPair |orig= <poem> mume no hana niou harube wa kurabuyama yami ni koyure-do shiruku zo ari-keru </poem> |trans= <poem> In the time of spring With fragrant plum flowers Though we cross over The darkness of Mount Kurabu It is stil..."

New page

[[KKS 38|Previous poem]] | [[KKS 40|Next poem]]

== Text ==

暗部山やまにてよめる

Read at Kurabu Mountain

貫之

[[Ki no Tsurayuki]]

梅の花匂ふ春べは暗部山闇に越れどしるくぞありける

{{PoemPair
|orig=
<poem>
mume no hana
niou harube wa
kurabuyama
yami ni koyure-do
shiruku zo ari-keru

</poem>

|trans=
<poem>
In the time of spring
With fragrant plum flowers
Though we cross over
The darkness of Mount Kurabu
It is still obvious.
</poem>
}}

== Notes ==

Other sources:

* ''[[Shinsen waka]]''

== Analysis ==

[[KKS 38|Previous poem]] | [[KKS 40|Next poem]]

[[Category:Spring]]
[[Category:Plums]]