KKS 44: Difference between revisions
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|orig= | |orig= | ||
<poem> | <poem> | ||
toshi wo he-te | |||
hana no kagami to | |||
naru mizu wa | |||
chiri-kakaru wo ya | |||
kumoru to iu ran | |||
</poem> | </poem> | ||
|trans= | |trans= | ||
<poem> | <poem> | ||
Through all the years | |||
The water that is a mirror | |||
For the flowers | |||
Shall we say that it "clouds" | |||
With the "dirt" of falling petals? | |||
</poem> | </poem> | ||
}} | }} | ||
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== Notes == | == Notes == | ||
;clouds | |||
:''chirikakaru'' can be read as "dirt [on something]" or "[petals] falling down." | |||
Other sources: | Other sources: | ||
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== Analysis == | == Analysis == | ||
This poem is a pair with the previous one. [[KKS 43|Poem 43]] focuses on the reflection of the plum blossoms in the water, while this poem is about the fallen blossoms. Opinions are divided on whether Ise is reading this on seeing the fallen blossoms on the lake, or merely imagining the scene. In any case, this is the first poem in the long group of plum blossom poems that deals with the falling petals. The uncertainty over whether the flowers have actually fallen or not makes it a suitable bridge to the remainder of the plum poems. | |||
There is no significant disagreement about the overall meaning: the crystal clear water, which acts as a mirror for the plum blossoms, will soon (or already does) have petals on it. Should we refer to this using the same term as we would for an old, dirtied mirror? [[Fujiwara no Kintō]] placed this poem in the "water" topic rather than the "plum" topic in his ''[[Wakan rōeishū]]'' collection, but the ''[[Kokin waka rokujō]]'' collection classifies this in the "flowers" section – both images are at the forefront of the poem. | |||
A number of commenters note the simple, unaffected construction of the poem: despite the wordplay, the poem does not feel artificial or technical. It creates a beautiful picture of the clear water, the reflected petals, and their delicate fall on the top of the water. | |||
Similar to the previous poem, if we take this one in its ''Ise Collection'' context, it can be seen as praise of the Emperor’s dwelling. In addition, the first line can take on a subtext of hope for a long life for the Emperor (or a long reign). | |||
[[KKS 43|Previous poem]] | [[KKS 45|Next poem]] | [[KKS 43|Previous poem]] | [[KKS 45|Next poem]] | ||
[[Category:Spring]] | [[Category:Spring]] | ||
[[Category:Plums]] | |||
Latest revision as of 17:48, 15 June 2026
Text
(Read on plum flowers blooming at the edge of water.)
(Ise)
年を経て花の鏡となる水は散りかかるをや曇るといふらん
|
toshi wo he-te |
Through all the years |
Notes
- clouds
- chirikakaru can be read as "dirt [on something]" or "[petals] falling down."
Other sources:
Analysis
This poem is a pair with the previous one. Poem 43 focuses on the reflection of the plum blossoms in the water, while this poem is about the fallen blossoms. Opinions are divided on whether Ise is reading this on seeing the fallen blossoms on the lake, or merely imagining the scene. In any case, this is the first poem in the long group of plum blossom poems that deals with the falling petals. The uncertainty over whether the flowers have actually fallen or not makes it a suitable bridge to the remainder of the plum poems.
There is no significant disagreement about the overall meaning: the crystal clear water, which acts as a mirror for the plum blossoms, will soon (or already does) have petals on it. Should we refer to this using the same term as we would for an old, dirtied mirror? Fujiwara no Kintō placed this poem in the "water" topic rather than the "plum" topic in his Wakan rōeishū collection, but the Kokin waka rokujō collection classifies this in the "flowers" section – both images are at the forefront of the poem.
A number of commenters note the simple, unaffected construction of the poem: despite the wordplay, the poem does not feel artificial or technical. It creates a beautiful picture of the clear water, the reflected petals, and their delicate fall on the top of the water.
Similar to the previous poem, if we take this one in its Ise Collection context, it can be seen as praise of the Emperor’s dwelling. In addition, the first line can take on a subtext of hope for a long life for the Emperor (or a long reign).
