KKS 24: Difference between revisions
Created page with "Previous poem | Next poem == Text == 寛平御時<ruby>后<rt>きさい</rt></ruby>の宮の<ruby>歌合<rt>うたあはせ</rt></ruby>によめる Read at the Empress' Poetry Competition in the Kampyō era 源宗于朝臣 Lord Minamoto no Muneyuki ときはなる松の緑も春くればいまひとしほの色まさりけり {{PoemPair |orig= <poem> tokiwanaru matsu no midori mo haru kure-ba ima hitoshio no iro masari-keri </poem>..." |
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== Notes == | == Notes == | ||
Other sources: | Other sources: | ||
* ''[[Kokin waka rokujō]]'' | ''[[Wakan rōeishū]]'' | ''[[Shinsen waka]]'' | * ''[[Kokin waka rokujō]]'' | ''[[Wakan rōeishū]]'' | ''[[Shinsen waka]]'' | ||
* ''[[Korai | * ''[[Korai fūteishō]]'' | ''[[Teika hachidaishō]]'' | ||
== Analysis == | == Analysis == | ||
The meaning is fairly clear -- the pine trees are known for being evergreen, but in the spring when everything is turning green, even the pine trees deepen one shade. The | The meaning is fairly clear -- the pine trees are known for being evergreen, but in the spring when everything is turning green, even the pine trees deepen one shade. The ''Bishamon tendō chū'' cites a Chinese precedent for this idea from the ''Wén Xuǎn''. Since pines are often on mountains, there is a connection from the previous poem's mountain wind to this one. | ||
There does seem to be some disagreement over whether pine trees actually deepen in color ( | There does seem to be some disagreement over whether pine trees actually deepen in color (Jakuei, Kaneko(1927), many other 20th century scholars) or whether this is simply the perception of the poet because everything is turning green (''Engoki'',Takeoka). | ||
As with some of the previous poems, | As with some of the previous poems, ''Jidenkai'' reads a political meaning into this -- the thriving of those who received promotions. The ''Naikakubunko'' commentary thought that in the context of the poetry collection, this was praising the Empress for receiving the Emperor's love. But not all older commentaries took this line; Tō no Tsuneyori praised it for its naturalness and feeling. The 19th century scholar Nagano Yoshitoki (''Uta no taii'') lavished praise on the poem for the beauty of the words, the lack of obvious artifice, and the excellent evocation of a spring scene. | ||
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Latest revision as of 18:28, 8 June 2026
Text
寛平御時后の宮の歌合によめる
Read at the Empress' Poetry Competition in the Kampyō era
源宗于朝臣
Lord Minamoto no Muneyuki
ときはなる松の緑も春くればいまひとしほの色まさりけり
|
tokiwanaru |
The neverchanging |
Notes
Other sources:
Analysis
The meaning is fairly clear -- the pine trees are known for being evergreen, but in the spring when everything is turning green, even the pine trees deepen one shade. The Bishamon tendō chū cites a Chinese precedent for this idea from the Wén Xuǎn. Since pines are often on mountains, there is a connection from the previous poem's mountain wind to this one.
There does seem to be some disagreement over whether pine trees actually deepen in color (Jakuei, Kaneko(1927), many other 20th century scholars) or whether this is simply the perception of the poet because everything is turning green (Engoki,Takeoka).
As with some of the previous poems, Jidenkai reads a political meaning into this -- the thriving of those who received promotions. The Naikakubunko commentary thought that in the context of the poetry collection, this was praising the Empress for receiving the Emperor's love. But not all older commentaries took this line; Tō no Tsuneyori praised it for its naturalness and feeling. The 19th century scholar Nagano Yoshitoki (Uta no taii) lavished praise on the poem for the beauty of the words, the lack of obvious artifice, and the excellent evocation of a spring scene.
