Spring has passed and summer seems to have come, the white-bleached robes are said to be hung on Mt. Kagu - Shin Kokin Wakashu, Volume 3, Summer Poems 175 (Opening Poem) - Naoto Yoshikai (1953- ) "New Considerations on the Hyakunin Isshu: Exploring Teika's Intentions in Poem Selection," Sekai Shisosha, Published September 1993
Naoto Yoshikai (1953- )
"New Considerations on the Hyakunin Isshu
Exploring Teika's Intentions in Poem Selection"
Sekai Shisosha, Published September 1993
308 pages
https://www.amazon.co.jp/dp/4790704742
Spring has passed and summer seems to have come, the white-bleached robes are said to be hung on Mt. Kagu
Shin Kokin Wakashu, Volume 3, Summer Poems 175 (Opening Poem)
"Empress Jito (41st Emperor) is virtually unknown as a poet,
and very few of her poems remain.
[...]
By the time of the 'Shin Kokinshu',
only the 'Spring has passed' poem was selected,
[...]
and through that single poem,
she has gained fame that could be called eternal."
p.18-19
"Empress Jito was not selected for the Hyakunin Isshu because she was an excellent poet,
nor because the quality of the 'Spring has passed' poem was recognized.
Fujiwara no Kinto [966-1041.2.4] and others
did not include this in their collections of excellent poems at all,
and it was a poem that remained largely buried until around the mid-Heian period.
[...]
As a figure who could not be omitted historically,
based on the historical perspective of the Hyakunin Isshu,
the inclusion of the parent-child pair of Tenji and Jito was planned
[...]
and if we assume that the 'Autumn fields' poem by Tenji was selected later in consideration of the combination,
it seems to be explained quite neatly."
p.19
"The standard reading of the 'Manyoshu' as 'Spring has passed and summer seems to have come, white-bleached robes are hung on Mt. Kagu'
did not even exist in this [Shin Kokinshu] era.
We must not ignore the flow of such [Manyoshu] reception history."
p.20
"New Japanese Classical Literature Series 11"
Iwanami Shoten, 1992.1
"The original poem is in Manyoshu 1 [28 Spring has passed and summer seems to have come, white-bleached robes are hung on Mt. Kagu],
fourth line 'koromo saraseri (hoshitari)'.
Korai Futeisho
[A treatise on poetry from the early Kamakura period.
Written by Fujiwara no Shunzei. Commissioned by Princess Shikishi and compiled in 1197.
It cites excellent poems from the Manyoshu to the Senzaishu,
showing the transition of poetic styles and adding brief comments],
second line 'natsu zo kinurashi',
fourth line 'koromo kawakasu'.
The source of this reading before the Shin Kokinshu is unknown."
p.67
"In the era of Empress Jito, who moved the capital to Fujiwara-kyo,
'robes are hung' was fine as a real scene before one's eyes.
If this refers to the
omigoromo (ritual robes/purification robes) used in Shinto rituals,
it is even more convenient as an imperial poem.
However, after the capital moved to Kyoto,
Mt. Kagu was no longer a sacred and familiar real scene for the Emperor.
Perhaps because of this, there are no examples of Mt. Kagu in imperial anthologies after the 'Kokinshu',
and it is only found once in the 'Senzaishu'.
However, there are four such poems in the 'Shin Kokinshu',
and it was truly in the Shin Kokin era that it was re-evaluated as a 'utamakura' (poetic pillow word/place) containing a longing for antiquity (as a subject for folding screen paintings).
'Robes are said to be hung' functions as a kind of legendary conceptual world and fantasy landscape."
p.20-21
"Teika is thought to have viewed the 'white-bleached robes' as a metaphor for the flowers of the deutzia (unohana)
(Akitsugu Kamijo, 'Introduction to the Theory of the Jito Emperor's Poem on 'Unohana' in a Hyakunin Isshu Old Commentary',
'Hyakunin Isshu Old Commentary 'Shikishi Waka' Text and Research',
Shintensha [1981.2])."
Teika himself
"Spring has passed and summer has come, the white-bleached robes are said to be hung, and the deutzia flowers bloom heavily on the fence"
('Shui Guso' 1887)
"Summer has come and the deutzia flowers are white, the robes seem to be drying, Mt. Kagu"
('Shui Guso Ingai no Soto' 4054)
and so on, he is using the original poem."
p.21
Naoto Yoshikai (1953- )
"Rereading the Hyakunin Isshu
2 Focusing on Wordplay
Shintensha Sensho 97"
Shintensha, Published September 2020
"Chapter 2 Is 'White-bleached' a Pillow Word?
Differences between Empress Jito's poem (No. 2) and Yamabe no Akahito's poem (No. 4)" p.25-34
https://note.com/fe1955/n/n62266db52edf
Dokusho Meter
Naoto Yoshikai's Bookshelf (8 registered books, in order of publication)
https://bookmeter.com/users/32140/bookcases/11091377
Hyakunin Isshu Bookshelf (15 registered books)
https://bookmeter.com/users/32140/bookcases/11091294
https://note.com/fe1955/n/n6dc3d5d1929a
My sleeves are wet with dew because the thatched roof of the temporary hut in the autumn field is rough
Naoto Yoshikai (1953- )
"New Considerations on the Hyakunin Isshu
Exploring Teika's Intentions in Poem Selection"
Sekai Shisosha, Published September 1993
308 pages
https://note.com/fe1955/n/n586a12682eab
My sleeves are wet with dew because the thatched roof of the temporary hut in the autumn field is rough
Naoto Yoshikai (1953- )
"Rereading the Hyakunin Isshu
2 Focusing on Wordplay"
Shintensha, Published September 2020
"Chapter 1 Emperor Tenji
Deciphering the 'Autumn fields' poem (No. 1)" p.15-24
"Japanese Linguistics" June 2017 Issue (Vol. 36, No. 6)
https://note.com/fe1955/n/n62266db52edf
Spring has passed and summer seems to have come, the white-bleached robes are said to be hung on Mt. Kagu
Looking out at Tago no Ura, the snow is falling on the high peak of white-bleached Fuji
Naoto Yoshikai (1953- )
"Rereading the Hyakunin Isshu
2 Focusing on Wordplay"
Shintensha, Published September 2020
"Chapter 2 Is 'White-bleached' a Pillow Word?
Differences between Empress Jito's poem (No. 2) and Yamabe no Akahito's poem (No. 4)"
https://note.com/fe1955/n/n0ba90ea3e6c6
Will I sleep alone through the long, long night of the drooping tail of the mountain pheasant?
Naoto Yoshikai (1953- )
"Rereading the Hyakunin Isshu
2 Focusing on Wordplay"
Shintensha, Published September 2020
"Chapter 3 Interpretation of 'Will I sleep alone'
in Kakinomoto no Hitomaro's poem (No. 3)"
https://note.com/fe1955/n/n8a17ee829b0e
Will I sleep alone through the long, long night of the drooping tail of the mountain pheasant?
Naoto Yoshikai (1953- )
"Rereading the Hyakunin Isshu
2 Focusing on Wordplay"
Shintensha, Published September 2020
"Chapter 4 The uniqueness of 'Long, long'
in Kakinomoto no Hitomaro's poem (No. 3)"
https://note.com/fe1955/n/n4f431d990faa
Seeing the white frost on the bridge that the magpies have crossed, I realize the night has deepened
Naoto Yoshikai (1953- )
"Rereading the Hyakunin Isshu
2 Focusing on Wordplay"
Shintensha, Published September 2020
"Chapter 5 Reading Otomo no Yakamochi's
'Magpie' poem (No. 6) as a poem of waiting for love"
https://note.com/fe1955/n/n33fa91b5395e
When I look up at the vast sky, is it the same moon that rose over Mt. Mikasa in Kasuga?
Naoto Yoshikai (1953- )
"Rereading the Hyakunin Isshu
2 Focusing on Wordplay"
Shintensha, Published September 2020
"Chapter 6 Re-examining Abe no Nakamaro's
'Vast sky' poem (No. 7), starting from Makoto Ueno's theory"
https://note.com/fe1955/n/n1e1c79d9cfff
If I hear that you are waiting for me like the pines on the peaks of Mt. Inaba, I will return now
Naoto Yoshikai (1953- )
"Rereading the Hyakunin Isshu
2 Focusing on Wordplay"
Shintensha, Published September 2020
"Chapter 7 The freshness of Ariwara no Yukihira's 'Parting' poem (No. 16)"
https://note.com/fe1955/n/ncf668d55a127
I have never heard of such a thing even in the age of the gods, that the Tatsuta River would be dyed crimson with water
Naoto Yoshikai (1953- )
"Rereading the Hyakunin Isshu 2
Focusing on Wordplay"
Shintensha, Published September 2020
"Chapter 8 The 'Chihayaburu' fantasy of Ariwara no Narihira's poem (No. 17)
Regarding the clear and muddy sounds" p.97-113
"Bulletin of the Graduate School of Letters, Doshisha Women's College of Liberal Arts" 17
March 2017
https://note.com/fe1955/n/nd7cbc56bb2ef
I have never heard of such a thing even in the age of the gods, that the Tatsuta River would be dyed crimson with water
Naoto Yoshikai (1953- )
"Rereading the Hyakunin Isshu
2 Focusing on Wordplay"
Shintensha, Published September 2020
"Chapter 9
Reconsidering 'Water passing through'
in Ariwara no Narihira's poem (No. 17), following Morita's theory"
https://note.com/fe1955/n/n0cd814798890
Just because you said you would come now, I have waited until the dawn moon of the long month
Naoto Yoshikai (1953- )
"Rereading the Hyakunin Isshu
2 Focusing on Wordplay"
Shintensha, Published September 2020
"Chapter 10 Reconsidering the 'Dawn moon of the long month' in Sosei Hoshi's poem (No. 21)"
https://note.com/fe1955/n/nf5c13c161a9f
Since the parting when you appeared indifferent in the dawn, there is nothing as painful as the dawn
Naoto Yoshikai (1953- )
"Rereading the Hyakunin Isshu
2 Focusing on Wordplay"
Shintensha, Published September 2020
"Chapter 11 A study of 'Dawn' in the 'Hyakunin Isshu'
Starting from Mibu no Tadamine's poem (No. 30)"
"Bulletin of the Graduate School of Letters, Doshisha Women's College of Liberal Arts" 13
March 2013
https://note.com/fe1955/n/na4105dc83b68
On this spring day of long-lasting, tranquil light, why do the flowers scatter with such restless hearts?
Naoto Yoshikai (1953- )
"Re-reading the Hyakunin Isshu
2 Focusing on Wordplay"
Shintensha, published September 2020
"Chapter 12: Ki no Tomonori's Poem (No. 33)
Is 'Hisakata no' a pillow word modifying 'light'?'"
Kaisetsu, Issue 683 (Vol. 61, Nos. 3 & 4)
April 2015
https://note.com/fe1955/n/nb4ff7c92d48c
We pledged, wringing our sleeves together, that the waves would never cross the Pine Mountain of Sue.
Naoto Yoshikai (1953- )
"Re-reading the Hyakunin Isshu
2 Focusing on Wordplay"
Shintensha, published September 2020
"Chapter 13: Kiyohara no Motosuke's Poem (No. 42)
Re-examining 'Sue no Matsuyama': Triggered by the Great Tohoku Tsunami," pp. 179-199
Kodai Bungaku Kenkyu, 2nd Series, 23, October 2014
https://note.com/fe1955/n/n3b8dec0bafab
Though the sound of the waterfall has long since ceased, its name continues to flow, and I have heard it spoken of.
Naoto Yoshikai (1953- )
"Re-reading the Hyakunin Isshu
2 Focusing on Wordplay"
Shintensha, published September 2020
"Chapter 14: Fujiwara no Kinto
On the 'Taki no oto wa' poem (No. 55): A re-examination from Saigyo's poem"
https://note.com/fe1955/n/n16dc1cc3dbeb
Since the road to Ikuno over Mt. Oe is far, I have not yet seen the bridge of heaven, Amanohashidate.
Naoto Yoshikai (1953- )
"Re-reading the Hyakunin Isshu
2 Focusing on Wordplay"
Shintensha, published September 2020
"Chapter 15: Koshikibu no Naishi
Reconsidering the pivot word in the 'Oe-yama' poem (No. 60)
Triggered by Asami's theory"
pp. 213-236
Kodai Bungaku Kenkyu, 2nd Series, 28
October 2019
https://note.com/fe1955/n/nf6a845025e47
Even if you try to deceive me with the false cry of a bird in the deep of night, I will never allow you through the barrier of Osaka.
Naoto Yoshikai (1953- ), "Re-reading the Hyakunin Isshu
2 Focusing on Wordplay"
Shintensha, published September 2020
"Chapter 16: Sei Shonagon's Poem (No. 62)
Reconsidering 'Yo wo komete': Verifying Kobayashi's theory"
Nihon Bungaku Ronkyu, 79, March 2020
https://note.com/fe1955/n/nfda49d0f8bf2
During the time I spend longing for you all night long, even the gaps in my bedchamber seem heartless.
Naoto Yoshikai (1953- )
"Re-reading the Hyakunin Isshu
2 Focusing on Wordplay"
Shintensha, published September 2020
"Chapter 17: Shun'e Hoshi's Poem (No. 85)
Reconsidering 'Ne no hima'"
Kaisetsu, Vol. 66, Nos. 3 & 4, April 2020
https://note.com/fe1955/n/nd0476d50dc9f
In the autumn wind of Mt. Miyoshino, as the night deepens, the old village grows cold, and I hear the sound of cloth being beaten.
Naoto Yoshikai (1953- )
"Re-reading the Hyakunin Isshu
2 Focusing on Wordplay"
Shintensha, published September 2020
"Chapter 18: Sangi Masatsune's Poem (No. 94)
The pivot-word usage of 'Sa-yo fukete'," pp. 279-291
Kaisetsu, Vol. 61, Nos. 9 & 10, October 2015
https://note.com/fe1955/n/n128163d33fd1
In the evening at the Nara River, where the wind rustles, the purification rite is the sign of summer.
Naoto Yoshikai (1953- )
"Re-reading the Hyakunin Isshu
2 Focusing on Wordplay"
Shintensha, published September 2020
"Chapter 19: Jusanmi Ietaka's Poem (No. 98)
Focusing on 'Natsu no shirushi'"
Kaisetsu, Vol. 63, Nos. 9 & 10, October 2017
https://note.com/fe1955/n/n2fbd6ef83427
Naoto Yoshikai (1953- )
"Re-reading the Hyakunin Isshu 2
Focusing on Wordplay
Shintensha Sensho 97"
Shintensha, published September 2020
312 pages
https://note.com/fe1955/n/nce8e9a0c3675
Emperor Go-Toba (August 6, 1180 - March 28, 1239)
"New Japanese Classical Literature Series 11
Shin Kokin Wakashu"
Annotated by Yutaka Tanaka and Shingo Akase
Iwanami Shoten, January 1992
Saiichi Maruya (August 27, 1925 - October 13, 2012)
"Emperor Go-Toba, Second Edition"
Chikuma Shobo, September 2004
"Emperor Go-Toba, Second Edition"
Chikuma Gakugei Bunko, March 2013
https://note.com/fe1955/n/n8dfcbf3d6859
Princess Shikishi (1149-1201)
Kumiko Tabuchi (1957- )
"Shin Kokinshu: The Era of Emperor Go-Toba and Teika (Kadokawa Sensho)"
Kadokawa Gakugei Shuppan, December 2010
"The Heretical Princess and the Court Lady Poet: Princess Shikishi and the Shin Kokinshu"
KADOKAWA (Kadokawa Gakugei Shuppan), February 2014
Keiko Hirai (1947- )
"Princess Shikishi (Collection of Japanese Poets 010)"
Kasama Shoin, April 2011
Akiko Baba (January 28, 1928 - )
"Princess Shikishi (Chikuma Gakugei Bunko)"
Chikuma Shobo, August 1992
https://note.com/fe1955/n/n47955a3b0698
Go-Toba-in no Kunaikyo
(dates of birth and death unknown)
"New Japanese Classical Literature Series 11
Shin Kokin Wakashu"
Annotated by Yutaka Tanaka and Shingo Akase
Iwanami Shoten, January 1992
https://note.com/fe1955/n/n34d98221cddf
For instance, my dear, won't you scoop me up like fallen leaves with a rustle and take me away?
Kazuhiro Nagata (May 12, 1947 - )
"That Chest Was As Distant As a Cape
Youth with Yuko Kono"
Shinchosha, published March 2022
318 pages