Hyakunin Isshu, Poem 17
Translation and comments by Ad Blankestijn
(version September 2022)
Translation and comments by Ad Blankestijn
(version September 2022)
unheard of
even in the legendary age
of the mighty gods
the waters of the Tatsuta River
tie-dyed in scarlet
the waters of the Tatsuta River
tie-dyed in scarlet
Or, when kukuru is read as kuguru, the last two lines become:
...
the Tatsuta River in scarlet
and the water flowing under it
chihayaburu
kamiyo mo kikazu
Tatsutagawa
karakurenai ni
mizu kukuru to wa
千早ぶる
神代もきかず
龍田川
からくれないに
水くくるとは
Ariwara no Narihira 在原業平 (825-880)
The beauty of the red maple leaves in autumn at the River Tatsuta.
The River Tatsuta flows through the lowlands east of the Ikoma Mountains south of Nara City. The area is famous for its maple trees and its autumn foliage and figures prominently in classical poetry.
The present poem was not actually written at the River Tatsuta, but on a screen painting of that river. The custom to write poems on screens with paintings in Yamatoe-style came up at the end of the 9th c. and was quite common in the 10th c. This is made clear by a head-note in the Kokinshu which reads: "Composed on a the topic of autumn leaves flowing down the Tatsuta River, as painted on a screen belonging to the Nijo Empress when she was still called the Mother of the Heir Apparent." In other words, the poem celebrates the success and glory of the Nijo Empress in giving birth to the Heir Apparent, with its reference to the Age of the Gods. The present poem is one of the first such "screen poems" (byobu uta); in the 10th c. both Yamatoe screens and accompanying poems were produced in large numbers.
The River Tatsuta flows through the lowlands east of the Ikoma Mountains south of Nara City. The area is famous for its maple trees and its autumn foliage and figures prominently in classical poetry.
The present poem was not actually written at the River Tatsuta, but on a screen painting of that river. The custom to write poems on screens with paintings in Yamatoe-style came up at the end of the 9th c. and was quite common in the 10th c. This is made clear by a head-note in the Kokinshu which reads: "Composed on a the topic of autumn leaves flowing down the Tatsuta River, as painted on a screen belonging to the Nijo Empress when she was still called the Mother of the Heir Apparent." In other words, the poem celebrates the success and glory of the Nijo Empress in giving birth to the Heir Apparent, with its reference to the Age of the Gods. The present poem is one of the first such "screen poems" (byobu uta); in the 10th c. both Yamatoe screens and accompanying poems were produced in large numbers.
Notes
- chihayaburu: a makurakotoba for the Age of the Gods.
- karakurenai: scarlet, literally "Chinese scarlet," as this particular color nuance probably came from China.
- The meaning of the last two lines changes depending on whether one reads the verb as kukuru or kuguru. Kukuru is probably the original reading, meaning "to tie-dye." So the waters of the Tatsuta look as if they have been tie-dyed in scarlet - tie-dyeing was a technique that came up in the 8th c., in which cloth was bound, folded or compressed to achieve different colored patterns. This is quite a complex and refined comparison (mitate). But in later centuries (and also in the time of Hyakunin Isshu compiler Fujiwara no Teika) the verb was read kuguru which means "to pass under," resulting in the interpretation of blue water flowing under the surface covering of the fallen red foliage. And that is also beautiful.
[Narihira looking for the ghost of Ono no Komachi,
by Yoshitoshi (Photo Wikipedia)]
The Poet
The courtier and poet Lord (Ason) Ariwara no Narihira (825-880) was counted both among the Six and Thirty-six Poetic Geniuses. He was also thought to be the protagonist of the mid 9th c. Ise Monogatari (The Ise Stories), which formed around a collection of his poems, and was inspired by his many renowned love affairs. The grandson of two emperors (Heizei and Kanmu), he was a model of the handsome, amorous nobleman. Various imperial anthologies contain almost 90 of his poems. Donald Keene has remarked about him: "Narihira combined all the qualities most admired in a Heian courtier: he was of high birth, extremely handsome, a gifted poet, and an all-conquering lover. He was probably also an expert horseman, adept in arms, and a competent official. These aspects of his life are not emphasized in the Tales of Ise, but they distinguish Narihira from other heroes of Heian literature, including Prince Genji." But because of his many love affairs he was also criticized in contemporary records as "unrestrained in self-indulgence." He would perhaps have been the perfect lover for Ono no Komachi, but there is no indication that they ever met, although speculation has always been rife.
[Tatsuta River]
Visiting
Around the Tatsuta River a 2 kilometer long park has been laid out, enabling to enjoy not only the famous autumnal red leaves, but also cherry blossoms in spring.Access : From JR Oji St. or Kintetsu Oji St., take the bus bound for Nara and get off at Tatsuta-ohashi-mae (7 min ride). See: http://www.pref.nara.jp/49861.htm (in Japanese). This is not a touristic spot, a but more a park where people living in the area can enjoy the seasons.
References: Pictures of the Heart, The Hyakunin Isshu in Word and Image by Joshua S. Mostow (University of Hawai'i Press, 1996); Traditional Japanese Poetry, An Anthology, by Steven D. Carter (Stanford University Press, 1991); Hyakunin Isshu by Inoue Muneo, etc. (Shinchosha, 1990); Genshoku Hyakunin Isshu by Suzuki Hideo, etc. (Buneido, 1997); Ogura Hyakunin Isshu at Japanese Text Initiative (University of Virginia Library Etext Center); Hyakunin Isshu wo aruku by Shimaoka Shin (Kofusha Shuppan); Hyakunin Isshu, Ocho waka kara chusei waka e by Inoue Muneo (Chikuma Shoin, 2004); Basho's Haiku (2 vols) by Toshiharu Oseko (Maruzen, 1990); The Ise Stories by Joshua S. Mostow and Royall Tyler (University of Hawai'i Press, 2010); Kokin Wakashu, The First Imperial Anthology of Japanese Poetry by Helen Craig McCullough (Stanford University Press, 1985); Kokinshu, A Collection of Poems Ancient and Modern by Laurel Rasplica Rodd and Mary Catherine Henkenius (University of Tokyo Press, 1984); Kokin Wakashu (Shogakkan, 1994); Shinkokin Wakashu (Shogakkan, 1995); Taketori Monogatari-Ise Monogatari-Yamato Monogatari-Heichu Monogatari (Shogakkan, 1994).
Except the autumn leaves photo at the top which is own work, all photos from Wikimedia Commons