KKS 81: Difference between revisions
Created page with "Previous poem | Next poem == Text == <ruby>東宮雅院<rt>とうぐうのがゐん</rt><ruby>にて、桜の花の<ruby>御溝<rt>みかは</rt></ruby>水に散りて流れけるを見てよめる At the Crown Prince's Residence, he read this on seeing cherry blossoms falling and floating down the stream 菅野高世 Sugano no Takase 枝よりもあだに散にし花なれば落ちても水の泡とこそなれ {{PoemPair |orig= <po..." |
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<ruby>東宮雅院<rt>とうぐうのがゐん</rt><ruby>にて、桜の花の<ruby>御溝<rt>みかは</rt></ruby>水に散りて流れけるを見てよめる | <ruby>東宮雅院<rt>とうぐうのがゐん</rt><ruby>にて、桜の花の<ruby>御溝<rt>みかは</rt></ruby>水に散りて流れけるを見てよめる | ||
At the Crown Prince's | At the Crown Prince's Wing, he read this on seeing cherry blossoms falling and floating down the stream | ||
菅野高世 | 菅野高世 | ||
Sugano no Takayo | |||
枝よりもあだに散にし花なれば落ちても水の泡とこそなれ | 枝よりもあだに散にし花なれば落ちても水の泡とこそなれ | ||
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|trans= | |trans= | ||
<poem> | <poem> | ||
From the moment they leave | |||
The branches and fall, the flowers | |||
Are evanescent | |||
So when they hit the water | |||
They turn into bubbles. | |||
</poem> | </poem> | ||
}} | }} | ||
== Notes == | == Notes == | ||
;Crown Prince's Wing | |||
:This is a building in the palace that was used for Coming of Age ceremonies for Crown Princes, as well as other ceremonies and events. There is some doubt about exactly where the building was located. | |||
;Stream | |||
:These are artificial streams in the palace. | |||
;Sugano no Takayo | |||
:He lived in the early 9th century. | |||
== Analysis == | == Analysis == | ||
Bubbles in the water was a common symbol of evanescence and transience, showing up in poetry as early as the ''Man'yōshū.'' This poem combines that image with the short-lived cherry blossoms. As Matsuda(1968) indicates, the rather "cold" logic of this poem is in stark contrast to the surrounding poems which are focused more on the human emotion in response to the falling flowers. Despite this, the poem does include a subtext of lamenting the falling of the flowers, and the prose preface lends an immediacy to the scene, allowing the reader to imagine the elegance of the petals drifting in the water of the palace. | |||
Beyond this basic interpretation, a number of scholars have tried to link the poem's feeling to some real life event, such as the death of an Emperor. Many earlier commentators identified specific Crown Princes or Emperors that the poem applied to, but they are often much later than the life of Sugano no Takayo. Also, some of these attempts are predicated on an idea that any detail in the prose preface must have been included for an important reason relevant to the poem's interpretation, which may not have actually been the case. | |||
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Latest revision as of 14:02, 29 September 2026
Text
東宮雅院にて、桜の花の御溝水に散りて流れけるを見てよめる
At the Crown Prince's Wing, he read this on seeing cherry blossoms falling and floating down the stream
菅野高世
Sugano no Takayo
枝よりもあだに散にし花なれば落ちても水の泡とこそなれ
|
eda yori mo |
From the moment they leave |
Notes
- Crown Prince's Wing
- This is a building in the palace that was used for Coming of Age ceremonies for Crown Princes, as well as other ceremonies and events. There is some doubt about exactly where the building was located.
- Stream
- These are artificial streams in the palace.
- Sugano no Takayo
- He lived in the early 9th century.
Analysis
Bubbles in the water was a common symbol of evanescence and transience, showing up in poetry as early as the Man'yōshū. This poem combines that image with the short-lived cherry blossoms. As Matsuda(1968) indicates, the rather "cold" logic of this poem is in stark contrast to the surrounding poems which are focused more on the human emotion in response to the falling flowers. Despite this, the poem does include a subtext of lamenting the falling of the flowers, and the prose preface lends an immediacy to the scene, allowing the reader to imagine the elegance of the petals drifting in the water of the palace.
Beyond this basic interpretation, a number of scholars have tried to link the poem's feeling to some real life event, such as the death of an Emperor. Many earlier commentators identified specific Crown Princes or Emperors that the poem applied to, but they are often much later than the life of Sugano no Takayo. Also, some of these attempts are predicated on an idea that any detail in the prose preface must have been included for an important reason relevant to the poem's interpretation, which may not have actually been the case.