KKS 30: Difference between revisions
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* ''[[ | * ''[[Korai fūteishō]]'' | ||
== Analysis == | == Analysis == | ||
As with the previous bird poems, this one focuses on sorrow. The geese are imagined as following a road in the sky, and Mitsune wishes that he could send a message with them the way he might with a traveler on a road. | The next two poems are on migrating geese, returning north after the winter. As with the previous bird poems, this one focuses on sorrow. The geese are imagined as following a road in the sky, and Mitsune wishes that he could send a message with them the way he might with a traveler on a road. | ||
The poem divides neatly into two parts, with the first sentence (2 lines) giving the scene, and the second sentence giving Mitsune's feeling in response. Kubota(1937) notes that the poem does not make sense without the prose preface, although the situation is not so complex that we might not imagine it ourselves. | The poem divides neatly into two parts, with the first sentence (2 lines) giving the scene, and the second sentence giving Mitsune's feeling in response. Kubota(1937) notes that the poem does not make sense without the prose preface, although the situation is not so complex that we might not imagine it ourselves. | ||
Latest revision as of 15:15, 11 June 2026
Text
雁の声を聞きて、越へまかりにける人を思ひてよめる
He heard the cry of the geese, thought about someone who had gone to Koshi, and wrote this.
凡河内躬恒
春くれば雁かへるなり白雲のみちゆきぶりにことやつてまし
|
haru kure-ba |
Spring has come |
Notes
- Koshi
- An area of Japan north of Kyoto that included Echizen, Etchu, and Echigo. The geese are flying north, so Mitsune imagines them going to Koshi where his friend is.
Other sources:
Analysis
The next two poems are on migrating geese, returning north after the winter. As with the previous bird poems, this one focuses on sorrow. The geese are imagined as following a road in the sky, and Mitsune wishes that he could send a message with them the way he might with a traveler on a road.
The poem divides neatly into two parts, with the first sentence (2 lines) giving the scene, and the second sentence giving Mitsune's feeling in response. Kubota(1937) notes that the poem does not make sense without the prose preface, although the situation is not so complex that we might not imagine it ourselves.
Starting with Tō no Tsuneyori, most commentators read this as a direct expression of Mitsune's feeling and having no hidden meaning. However, a minority opinion connects this to the legend of Sū Wǔ. Kubota and Takeoka allow that this legend may be in the background of the poem and influence the imagery, but that it has no major role in the poem.
