Winter Spring

䉁䈋䈏䈐
㵪 䉁䈋䈏䈐 㵪
๺᱌䋨⍴᱌䋩䈲੖䊶৾䊶੖䊶৾䊶৾䈱੖䈧䈱ฏ䈎䉌ᚑ䉎ਃච৻ᢥሼ䈱⸒⪲䈱ዊቝቮ䇮ජᐕએ਄ᤄ䈱
䈤䉊䈒䈞䉖
╙৻഼ᠠ๺᱌㓸䇺ฎ੹㓸䇻䋨䋹䋰䋵ᐕ䋩䈪䈠䈱ᛛᏁ䈲⏕┙䈘䉏䇮ᐔ቟ᤨઍ䈱⚳䉒䉍䈱䇺ᣂฎ੹㓸䇻
㩷
䉄䈇
䋨䋱䋳਎♿ೋ㗡䋩䈪䈠䈱ᢥൻ⊛㗂ὐ䈮㆐䈚䈢䇯䈠䈱㑆䇮䈠䉏䈡䉏䈱ᤨઍ䈱䌛వ]Ꮲ䈱๮䉕ฃ䈔䈩✬䉁
䉏䈢౎䈧䈱ਥⷐ䈭഼ᠠ๺᱌㓸䈏ሽ࿷䈜䉎 㵪 䇺౎ઍ㓸䇻䈫✚⒓䈘䉏䉎䈖䉏䉌๺᱌㓸䈱෼タ᱌✚ᢙ
䈲⚂䋹
䋹䋵䋰䋰㚂䊶䊶䊶䈠䈱♖㜑䈲䇮䈖䈱ᧄ䈮෼䉄䉌䉏䈢䋲
䋲䋰䋰㚂䈱ਛ䈮⷗䉎䈖䈫䈏䈪䈐䉎䇯ᧄᦠ䈲䇮⪺⠪
䈏⑳⊛䈮ㆬ䉖䈣䃨䊔䉴䊃䋵䋰㚂䃨䈮䇮䈘䉌䈭䉎䃂⦟᱌䋱䋵䋰㚂䃂䋨ᄖ࿖ੱ䉇⃻ઍᣣᧄੱ䈮䇮ᤄ䈱ᣣᧄੱ
䈛䉊䈉䈤䉊
䈱ቄ▵⊛䊶ᖱ✜⊛․ᕈ䉕વ䈋䉎਄䈪ᅢㆡ䈭⍴᱌⟲䋩䉕ട䈋䈢䉅䈱䈪䈅䉎䊶䊶䊶㐳䈇ᤨઍ䉕⚻䈩ᄬ䉒䉏䈢
䉅䈱䈏䈬䉏䈣䈔䈅䉎䈎䇮੹䈭䈍ᱷ䉎䉅䈱䈏䈬䉏䈾䈬䈅䉎䈎䇮䈅䉍䈭䈏䉌䈎䈒䉅㐳䉌䈒⷗ㆊ䈗䈘䉏⛯䈔
䈩䈐䈢䉅䈱䈏䈇䈎䈮ᄙ䈇䈖䈫䈎䇮䈖䈱ᧄ䉕ㅢ䈚䈩⏕⹺䈚䈩䉅䉌䈇䈢䈇䈫ᕁ䈉䇯
䇸⥄䉌䈱ㆊ෰䋨⦟
⦟䈐䉅ᖡ
ᖡ䈐䉅䋩䈫䈱ኻ⹤䉅಴᧪䈯࿎䈦䈢࿖䇹䈎䉌ᣣᧄ䉕ᢇᷣ䈜䉎䈢䉄䈮䊶䊶䊶
䋲䋰䋱䋶ᐕ䋳᦬䋱䋱ᣣ
ਯੱ౬ᖗ䋨䈱䈫䊶䈛䉆䈉䈗䋺Noto Jaugo䋩
วหળ␠䉵䊋䊤䉟䉣㩷 ઍ⴫␠ຬ
Beneath Umbrella of ZUBARAIE LLC.
http://zubaraie.com
㵪 PREFACE ȸ
๺᱌(WAKA䋽Japanese ⍴᱌:TANKA) is a 31-letter microcosm composed of 5-7-5-7-7
syllabled phrases, technically established more than a thousand years ago in the first Imperial
anthology ฎ੹㓸(Kokin shuu) in A.D. 905, culturally culminating in ᣂฎ੹㓸(Shin-Kokin
shuu) at the end of the ᐔ቟(Heian) era at the beginning of the 13th century. In the
intervening years, there were 8 Great Imperial TANKA anthologies compiled at the order of
[ex-]Emperors of the day: these anthologies are collectively called ౎ઍ㓸(Hachidai shuu䋽8
great Imperial TANKA anthologies), embracing some 9,500 TANKA poems. You can see
their purest essence in the 200 TANKA in this book. It all started from this author's personal
䃨BEST 50䃨, supplemented by 䃂150 good poems䃂 instrumental in telling foreign and
modern Japanese people the seasonal and mental characteristics of the ancient Japanese...
See how much they have lost, how much they still hold, and how much they have consistently
missed all these years.
To help rescue Japan from a sorry nation incapable of
communication with their own past, good and bad…
March 11, 2016
Jaugo Noto䋨ਯੱ౬ᖗ䋩
representative partner of ZUBARAIE LLC.
PREFACE
-2-
⍴᱌⚝ᒁ
㵪౻䌾ᤐ䋺Winter䌾Spring㵪
䃂1䃂䉉䈐䈸䉏䈳䈐䈗䈫䈮䈲䈭䈡䈘䈐䈮䈔䉎㩷 䈇䈨䉏䉕䈉䉄䈫䉒䈐䈩䉕䉌䉁䈚(㓸 1 ᱌ 337)♿෹ೣ
P16䇼౻䇽[⻘ដ]yuki fure-ba ki-goto-ni hana zo saki-ni-keru izure wo ume to waki-te ora-mashi
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䇸໊᱌䇹䈱ᩕ⪇䈱ฬᱷ䉍䇸㔌ว䇹᱌䇷
䃂2䃂䉕䉌䉏䈔䉍䈒䉏䈭䉓䈮䈾䈸䈉䉄䈱䈲䈭㩷 䈔䈘䈚䉐䈢䈻䈮䉉䈐䈲䈸䉏䉏䈬(㓸 8 ᱌ 41)⮮ේ㗬ㅢ
P17䇼౻䇽[⻘ដ]ora-re-keri kurenai niou ume-no-hana kesa shirotae-ni yuki wa fure-re-do
㵪ᤐ䋺Spring㵪
䃂3䃂䉕䉍䈧䉏䈳䈠䈪䈖䈠䈮䈾䈻䈉䉄䈱䈲䈭㩷 䈅䉍䈫䉇䈖䈖䈮䈉䈓䈵䈜䈱䈭䈒(㓸 1 ᱌ 32)⹗䉂ੱ⍮䉌䈝
P18䇼ᤐ䇽[େ⺽]ori-tsure-ba sode koso nioe ume-no-hana ari to-ya koko ni uguisu no naku
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䇸େ⺽䇹䉕େੱሶⷙ䈲ᘾ䉂䈔䉍䇷
䃨4䃨䈵䈫䈲䈇䈘䈖䈖䉐䉅䈚䉌䈝䈸䉎䈘䈫䈲㩷 䈲䈭䈡䉃䈎䈚䈱䈎䈮䈮䈾䈵䈔䉎(㓸 1 ᱌ 42)♿⽾ਯ
P20䇼ᤐ䇽[ᙬᣥ]hito wa isa kokoro mo shira-zu furusato wa hana zo mukashi no ka ni nioi-keru
䃂5䃂䈖䈤䈸䈎䈳䈮䈾䈵䈍䈖䈞䉋䈉䉄䈱䈲䈭㩷 䈅䉎䈛䈭䈚䈫䈩䈲䉎䉕䉒䈜䉎䈭(㓸 3 ᱌ 1006)⩲ේ㆏⌀
P21䇼ᤐ䇽[ᡆੱ]kochi fuka-ba nioi okoseyo ume-no-hana aruji nashi tote haru wo wasuru-na
䃂6䃂䈸䈐䈒䉏䈳䈎䉕䈭䈧䈎䈚䉂䉃䉄䈱䈲䈭㩷 䈤䉌䈘䈯䈾䈬䈱䈲䉎䈎䈟䉅䈏䈭(㓸 6 ᱌ 9)Ḯᤨ✁
P22䇼ᤐ䇽[ᯏ⍮]fuki-kure-ba ka wo natsukashi-mi mume-no-hana chirasa-nu hodo no haru-kaze mogana
䃨7䃨䈠䈪䈵䈥䈩䉃䈜䈶䈚䉂䈨䈱䈖䈾䉏䉎䉕㩷 䈲䉎䈢䈧䈔䈸䈱䈎䈟䉇䈫䈒䉌䉃(㓸 1 ᱌ 2)♿⽾ਯ
P22䇼ᤐ䇽[ቄ㗴]sode hiji-te musubi-shi mizu no koore-ru wo haru-tatsu kyou no kaze ya toku-ramu
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䇸ᣥᥲ䇹䈮৻᦬⿷䈚䈩䇸੹䈗䉋䉂䇹䇷
䃨8䃨䈲䉎䈢䈧䈫䈇䈸䈳䈎䉍䈮䉇䉂䉋䈚䈱䈱㩷 䉇䉁䉅䈎䈜䉂䈩䈔䈘䈲䉂䉉䉌䉃(㓸 3 ᱌ 1)ჼ↢ᔘጙ
P23䇼ᤐ䇽[⻘ដ]haru-tatsu to yuu bakari-ni-ya mi-Yoshino no yama mo kasumi-te kesa wa miyu-ramu
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶࿯࿾ᨩ䈮฽ᗧ䈅䉍䈔䉍䇸᱌ᨉ䇹䇷
䃂9䃂䉋䈚䈱䉇䉁䈘䈒䉌䈏䈋䈣䈮䉉䈐䈤䉍䈩㩷 䈲䈭䈍䈠䈕䈭䉎䈫䈚䈮䉅䈅䉎䈎䈭(㓸 8 ᱌ 79)⷏ⴕ
P25䇼ᤐ䇽[⻘ដ]Yoshino-yama sakura-ga eda ni yuki chiri-te hana osoge-naru toshi ni-mo-aru kana
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䇸େ⺽䇹䈱ਃ⊖ઍ⸒䇸㖭᥂䋨ୟუ䋿䋩⿰๧䇹䇷
䃂10䃂䉂䉒䈢䈞䈳䉇䈭䈑䈘䈒䉌䉕䈖䈐䉁䈟䈩㩷 䉂䉇䈖䈡䈲䉎䈱䈮䈚䈐䈭䉍䈔䉎(㓸 1 ᱌ 56)⚛ᕈ
P27䇼ᤐ䇽[ᯏ⍮]miwatase-ba yanagi sakura wo kokimaze-te miyako zo haru no nishiki nari-keru
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶ᄢะ䈉໗䉌䈜ᗧ࿑䈱䇸⿰ะ䇹᱌䇷
䃂11䃂䈲䈭䈱䈇䉐䈲䈎䈜䉂䈮䈖䉄䈩䉂䈞䈝䈫䉅㩷 䈎䉕䈣䈮䈯䈜䉄䈲䉎䈱䉇䉁䈎䈟(㓸 1 ᱌ 91)ㆉᤘ䋨⦟ጙቬ⽵䋩
P28䇼ᤐ䇽[ᯏ⍮]hana no iro wa kasumi ni kome-te mise-zu-tomo ka wo dani nusume haru no yama-kaze
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䇸಴ኅ䇹䈚䈩䈭䈾ฬ䉕᳞䉃䇸᱌௯䇹䈎䈭䇷
䃨12䃨䉂䉏䈬䈅䈎䈯䈲䈭䈱䈘䈎䉍䈮䈎䈻䉎䈎䉍㩷 䈭䈾䈸䉎䈘䈫䈱䈲䉎䉇䈖䈵䈚䈐(㓸 3 ᱌ 55)⹗䉂ੱ⍮䉌䈝
P29䇼ᤐ䇽[⥄ὼ]mire-do aka-nu hana no sakari ni kaeru kari nao furusato no haru ya kohishiki
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䇸ሼ૛䉍䇹䈲䈅䉏䈬䇸ሼ⿷䉌䈝䇹ή䈎䉍䈔䉍䇷
䃂13䃂䈲䉎䈐䈩䈡䈵䈫䉅䈫䈵䈔䉎䉇䉁䈙䈫䈲㩷 䈲䈭䈖䈠䉇䈬䈱䈅䉎䈛䈭䉍䈔䉏(㓸 3 ᱌ 1015)⮮ේ౏છ
P30䇼ᤐ䇽[ᯏ⍮]haru kite zo hito mo toi-keru yama-zato wa hana koso yado no aruji nari-kere
䃂14䃂䉒䉏䉕䈖䈠䈫䈸䈮䈉䈎䉌䉄䈲䉎䈏䈜䉂㩷 䈲䈭䈮䈧䈔䈩䉅䈢䈤䉋䉌䈯䈎䈭(㓸 2 ᱌ 113)⹗䉂ੱ⍮䉌䈝
P31䇼ᤐ䇽[㗿ᦸ]ware wo koso tou ni ukarame haru-gasumi hana ni tsuke-te-mo tachi-yora-nu kana
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䈅䈦䈤ะ䈇䈩䊖䉞䋣䈫ਇᗧઃ䈒䇸✼⺆䇹䈎䈭䇷
http//zubaraie.com
-3-
㩷㩷㩷㩷㩷㩷㩷㩷㩷
verse INDEX
⍴᱌⚝ᒁ
䃂15䃂䈖䈡䈱䈲䉎䈤䉍䈮䈚䈲䈭䉅䈘䈐䈮䈔䉍㩷 䈅䈲䉏䉒䈎䉏䈱䈎䈎䉌䉁䈚䈎䈳(㓸 6 ᱌ 402)⿒ᨴⴡ㐷
P32䇼ᤐ䇽[ᘣགྷ]kozo no haru chiri-ni-shi hana mo saki-ni-keri aware wakare no kakara-mashi-kaba
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶ᧄᒰ䈱ฬ䈲ੱ⍮䉏䈯䇸ᅚᵹ᱌ੱ䇹䇷
䃨16䃨䉅䉐䈫䉅䈮䉕䉍䈚䈲䉎䈱䉂䈖䈵䈚䈒䈩㩷 䈵䈫䉍䉂䉁䈉䈐䈲䈭䈙䈎䉍䈎䈭(㓸 3 ᱌ 1039)⹗䉂ੱ⍮䉌䈝
P34䇼ᤐ䇽[ᙬᣥ]morotomoni ori-shi haru nomi koishiku-te hitori mi-mauki hana-zakari kana
䃂17䃂䈖䈡䉂䈚䈮䈇䉐䉅䈎䈲䉌䈝䈘䈐䈮䈔䉍㩷 䈲䈭䈖䈠䉅䈱䈲䈍䉅䈲䈙䉍䈔䉏(㓸 5 ᱌ 515)⒌౗ᣇ
P䋳䋴䇼ᤐ䇽[ᡆੱ]kozo mi-shi ni iro mo kawara-zu saki-ni-keri hana koso mono wa omowa-zari-kere
䃂18䃂䈇䈮䈚䈻䈮䈎䈲䉌䈙䉍䈔䉍䉇䉁䈙䈒䉌㩷 䈲䈭䈲䉒䉏䉕䈳䈇䈎䈏䉂䉎䉌䉃(㓸 7 ᱌ 1055)⮮ේၮ㐳
P35䇼ᤐ䇽[ᡆੱ]inishie ni kawara-zari-keri yama-zakura hana wa ware wo-ba ikaga miru-ramu
䃂19䃂䉋䈱䈭䈎䉕䈍䉅䈵䈜䈩䈩䈚䉂䈭䉏䈬䉅㩷 䈖䈖䉐䉋䉒䈚䈫䈲䈭䈮䉂䈋䈔䉎(㓸 4 ᱌ 117)⢻࿃䋨ᯌ᳗ᘃ䋩
P36䇼ᤐ䇽[ᯏ⍮]yo-no-naka wo omoi-sute-te-shi mi nare-domo kokoro-yowashi to hana ni mie-keru
䃨20䃨䉋䈱䈭䈎䈮䈢䈋䈩䈘䈒䉌䈱䈭䈎䉍䈞䈳㩷 䈲䉎䈱䈖䈖䉐䈲䈱䈬䈔䈎䉌䉁䈚(㓸 1 ᱌ 53)࿷ේᬺᐔ
P37䇼ᤐ䇽[ᖗ䉍]yo-no-naka ni taete sakura no nakari-se-ba haru no kokoro wa nodokekara-mashi
䃂21䃂䈫䈚䉕䈻䈩䈍䈭䈛䈘䈒䉌䈱䈲䈭䈱䈇䉐䉕㩷 䈠䉄䉁䈜䉅䈱䈲䈖䈖䉐䈭䉍䈔䉍(㓸 7 ᱌ 63)⮮ේ౏ᤨ
P37䇼ᤐ䇽[ᖗ䉍]toshi wo he-te onaji sakura no hana no iro wo some-masu mono wa kokoro nari-keri
䃂22䃂䈘䈒䉌䈳䈭䈤䉌䈘䈪䈤䉋䉅䉂䈩䈚䈏䈭㩷 䈅䈎䈯䈖䈖䉐䈲䈘䈩䉅䈅䉍䉇䈫(㓸 6 ᱌ 35)⮮ේర⌀
P38䇼ᤐ䇽[ᯏ⍮]sakura-bana chirasa-de chiyo mo mi-te-shigana aka-nu kokoro wa sate-mo ari-ya to
䃂23䃂䈘䈒䉌䈏䉍䈅䉄䈲䈸䉍䈐䈯䈍䈭䈛䈒䈲㩷 䈯䉎䈫䉅䈲䈭䈱䈎䈕䈮䈎䈒䉏䉃(㓸 3 ᱌ 50)⹗䉂ੱ⍮䉌䈝
P39䇼ᤐ䇽[ᯏ⍮]sakura-gari ame wa furi-ki-nu onajiku-wa nuru tomo hana no kage ni kakure-mu
䃂24䃂䉅䉐䈫䉅䈮䈅䈲䉏䈫䈍䉅䈻䉇䉁䈙䈒䉌㩷 䈲䈭䉋䉍䈾䈎䈮䈚䉎䈵䈫䉅䈭䈚(㓸 5 ᱌ 510)ⴕዅ
P39䇼ᤐ䇽[ᡆੱ]morotomoni aware to omoe yama-zakura hana yori hoka ni shiru hito mo nashi
䃂25䃂䈘䈔䈳䈤䉎䈘䈎䈰䈳䈖䈵䈚䉇䉁䈙䈒䉌㩷 䈍䉅䈵䈢䈋䈞䈯䈲䈭䈱䈉䈻䈎䈭(㓸 3 ᱌ 36)ᢕᘮⷫ₺ᅚ
P40䇼ᤐ䇽[ḳᕷ]sake-ba chiru saka-ne-ba koishi yama-zakura omoi tae-se-nu hana no ue kana
䃨26䃨䈲䉎䈗䈫䈮䈲䈭䈱䈘䈎䉍䈲䈅䉍䈭䉄䈬㩷 䈅䈵䉂䉃䈖䈫䈲䈇䈱䈤䈭䉍䈔䉍(㓸 1 ᱌ 97)⹗䉂ੱ⍮䉌䈝
P40䇼ᤐ䇽[ᖗ䉍]haru-goto-ni hana no sakari wa ari-na-me-do ai-mi-mu koto wa inochi nari-keri
䃂27䃂䉇䉁䈙䈫䈮䈤䉍䈲䈩䈯䈼䈐䈲䈭䉉䉔䈮㩷 䈢䉏䈫䈲䈭䈒䈩䈵䈫䈡䉁䈢䉎䉎(㓸 4 ᱌ 135)Ḯ㆏ᷣ
P41䇼ᤐ䇽[㗿ᦸ]yama-zato ni chiri-hate-nu-beki hana yue ni tare to-wa naku-te hito zo mata-ruru
䃨28䃨䈲䈭䈱䈇䉐䈲䈉䈧䉍䈮䈔䉍䈭䈇䈢䈨䉌䈮㩷 䉒䈏䉂䉋䈮䈸䉎䈭䈏䉄䈞䈚䉁䈮(㓸 1 ᱌ 113)ዊ㊁ዊ↸
P42䇼ᤐ䇽[઒⸤]hana no iro wa utsuri-ni-keri-na itazurani wa-ga mi yo ni furu nagame se-shi ma ni
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶઒ฬṽሼ⇣਎⇇䈧䈭䈓䇸 ⹖䇹䇷
䃨29䃨䈵䈘䈎䈢䈱䈵䈎䉍䈱䈬䈔䈐䈲䉎䈱䈵䈮㩷 䈚䈨䈖䈖䉐䈭䈒䈲䈭䈱䈤䉎䉌䉃(㓸 1 ᱌ 84)♿෹ೣ
P43䇼ᤐ䇽[⥄ὼ]hisakata no hikari nodokeki haru no hi ni shizu-kokoro naku hana no chiru-ramu
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䇸⸒㔤䇹䉇䇸ᨉ⹖䇹䈮ኋ䉍䈔䉎䇷
䃨30䃨䈘䈒䉌䈤䉎䈖䈱䈚䈢䈎䈟䈲䈘䉃䈎䉌䈪㩷 䈠䉌䈮䈚䉌䉏䈯䉉䈐䈡䈸䉍䈔䉎(㓸 3 ᱌ 64)♿⽾ਯ
P45䇼ᤐ䇽[ᯏ⍮]sakura chiru ko-no-shita-kaze wa samukara-de sora ni shira-re-nu yuki zo furi-keru
䃂31䃂䈘䈒䉌䈳䈭䈤䉍䈯䉎䈎䈟䈱䈭䈗䉍䈮䈲㩷 䉂䈨䈭䈐䈠䉌䈮䈭䉂䈡䈢䈤䈔䉎(㓸 1 ᱌ 89)♿⽾ਯ
P46䇼ᤐ䇽[ᯏ⍮]sakura-bana chiri-nuru kaze no nagori ni-wa mizu naki sora ni nami zo tachi-keru
䃂32䃂䈘䈒䉌䈤䉎䈲䈭䈱䈫䈖䉐䈲䈲䉎䈭䈏䉌㩷 䉉䈐䈡䈸䉍䈧䈧䈐䈋䈏䈩䈮䈜䉎(㓸 1 ᱌ 75)ᛚဋ
P46䇼ᤐ䇽[⻘ដ]sakura chiru hana no tokoro wa haru nagara yuki zo furi-tsutsu kie-gate-ni suru
verse INDEX
-4-
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⍴᱌⚝ᒁ
䃂33䃂䈔䈘䉂䉏䈳䉋䉎䈱䈅䉌䈚䈮䈤䉍䈲䈩䈩㩷 䈮䈲䈖䈠䈲䈭䈱䈘䈎䉍䈭䉍䈔䉏(㓸 5 ᱌ 58)ᓼᄢኹታ⢻
P47䇼ᤐ䇽[ᯏ⍮]kesa mire-ba yoru no arashi ni chiri-hate-te niwa koso hana no sakari nari-kere
䃂34䃂䈘䈒䉌䈇䉐䈱䈮䈲䈱䈲䉎䈎䈟䈅䈫䉅䈭䈚㩷 䈫䈲䈳䈡䈵䈫䈱䉉䈐䈫䈣䈮䉂䉃(㓸 8 ᱌ 134)⮮ේቯኅ
P47䇼ᤐ䇽[⻘ដ]sakura-iro no niwa no haru-kaze ato mo nashi towa-ba zo hito no yuki to dani mi-mu
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶ᐲ䉕⿥䈚䈩⸃䈔䈯⻘䇱⺕䈠ᅢ䉃䇷
䃂35䃂䈅䈘䈥䈲䉌䈯䈚䈭䈐䉇䈬䈱䈘䈒䉌䈳䈭㩷 䈖䈖䉐䉇䈜䈒䉇䈎䈟䈮䈤䉎䉌䉃(㓸 3 ᱌ 62)ᕺᘮ
P50䇼ᤐ䇽[ᡆੱ]asaji-hara nushi naki yado no sakura-bana kokoro-yasuku ya kaze ni chiru-ramu
䃂36䃂䈇䈮䈚䈻䈲䈤䉎䉕䉇䈵䈫䈱䈍䈚䉂䈔䉃㩷 䈲䈭䈖䈠䈇䉁䈲䉃䈎䈚䈖䈸䉌䈚(㓸 3 ᱌ 1279)⮮ේદዣ
P50䇼ᤐ䇽[ᡆੱ]inishie wa chiru wo-ya hito no oshimi-kemu hana koso ima-wa mukashi kou-rashi
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䇸᱌䈱⪇䇹ᣁ䈒䈡ቯ䉄䈚䇸౎ઍ㓸䇹䇷
䃂37䃂䈫䈚䉕䈻䈩䈲䈭䈮䈖䈖䉐䉕䈒䈣䈒䈎䈭㩷 䉕䈚䉃䈮䈫䉁䉎䈲䉎䈲䈭䈔䉏䈬(㓸 4 ᱌ 144)⮮ේቯ㗬
P52䇼ᤐ䇽[ḳᕷ]toshi wo he-te hana ni kokoro wo kudaku kana oshimu ni tomaru haru wa nakere-do
䃂38䃂䉂䈮䈎䈻䈩䉕䈚䉃䈮䈫䉁䉎䈲䈭䈭䉌䈳㩷 䈔䈸䉇䉒䈏䉂䈱䈎䈑䉍䈭䉌䉁䈚(㓸 5 ᱌ 66)Ḯବ㗬
P52䇼ᤐ䇽[ᯏ⍮]mi ni kae-te oshimu ni tomaru hana nara-ba kyou ya wa-ga mi no kagiri nara-mashi
䃂39䃂䈔䈸䈱䉂䈫䈲䉎䉕䈍䉅䈲䈯䈫䈐䈣䈮䉅㩷 䈢䈧䈖䈫䉇䈜䈐䈲䈭䈱䈎䈕䈎䈲(㓸 1 ᱌ 134)ಠᴡౝるᕡ
P53䇼ᤐ䇽[ቄ㗴]kyou nomi to haru wo omowa-nu toki dani-mo tatsu koto yasuki hana no kage kawa
䃨40䃨䈇䈒䈎䈻䉍䈔䈸䈮䉒䈏䉂䈱䈅䈵䈯䉌䉃㩷 䉕䈚䉃䈲䈲䉎䈱䈜䈓䉎䈱䉂䈎䈲(㓸 5 ᱌ 93)⮮ේቯᚑ
P54䇼ᤐ䇽[ቄ㗴]iku-kaeri kyou ni wa-ga mi no ai-nu-ramu oshimu wa haru no suguru nomi-kawa
䃂41䃂䈲䉎䈱䉉䈒䉂䈤䈮䈐䉃䈎䈻䈾䈫䈫䈑䈜㩷 䈎䈢䉌䈸䈖䉔䈮䈢䈤䉇䈫䉁䉎䈫(㓸 5 ᱌ 90)⸽ⷰ
P54䇼ᤐ䇽[ቄ㗴]haru no yuku michi ni ki-mukae hototogisu katarau koe ni tachi-ya-tomaru-to
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶ᤐ䈭䉌䈳ᣁ䈒䈲㡆䈒䉁䈛䇸ㇳ౏䇹䇷
䃂42䃂䉂䉒䈢䈞䈳䉇䉁䉅䈫䈎䈜䉃䉂䈭䈞䈏䈲㩷 䉉䈸䈼䈲䈅䈐䈫䈭䈮䈍䉅䈵䈔䉃(㓸 8 ᱌ 36)ᓟ㠽⠀㒮
P56䇼ᤐ䇽[⻘ដ]miwatase-ba yama-moto kasumu minase-gawa yuu-be wa aki to nani omoi-kemu
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶㐷ᄖṽ⪭䈫䈜䇸ᧄ▵䇹⥄Ṍ᱌䇷
䃂43䃂䈩䉍䉅䈞䈝䈒䉅䉍䉅䈲䈩䈯䈲䉎䈱䉋䈱㩷 䈍䈿䉐䈨䈐䉋䈮䈚䈒䉅䈱䈡䈭䈐(㓸 8 ᱌ 55)ᄢᳯජ㉿
P57䇼ᤐ䇽[ᯏ⍮]teri-mo se-zu kumori-mo hate-nu haru no yo no oboro-zukiyo ni shiku mono zo naki
㵪ᄐ䋺Summer㵪
䃂44䃂䉉䈸䈨䈒䉋䈾䈱䉄䈒䈎䈕䉅䈉䈱䈲䈭䈱㩷 䈘䈔䉎䉒䈢䉍䈲䈘䉇䈔䈎䉍䈔䉍(㓸 7 ᱌ 140)⮮ේ䋨ਃ᧦䋩ታᚱ
P58䇼ᄐ䇽[ᯏ⍮]yuu-zukuyo honomeku kage mo u-no-hana no sake-ru watari wa sayakekari-keri
䃂45䃂䈤䉍䈲䈩䈩䈲䈭䈱䈎䈕䈭䈐䈖䈱䉅䈫䈮㩷 䈢䈧䈖䈫䉇䈜䈐䈭䈧䈗䉐䉅䈎䈭(㓸 8 ᱌ 177)ᘏ౞
P58䇼ᄐ䇽[ォቄ]chiri-hate-te hana no kage naki ko no moto ni tatsu koto yasuki natsu-goromo kana
䃨46䃨䈘䈧䈐䉁䈧䈲䈭䈢䈤䈳䈭䈱䈎䉕䈎䈕䈳㩷 䉃䈎䈚䈱䈵䈫䈱䈠䈪䈱䈎䈡䈜䉎(㓸 1 ᱌ 139)⹗䉂ੱ⍮䉌䈝
P59䇼ᄐ䇽[ᙬᣥ]Satsuki matsu hana-tachibana no ka wo kage-ba mukashi no hito no sode no ka zo suru
䃂47䃂䈅䈸䈖䈫䈱䈵䈘䈚䈮䈸䈔䉎䈅䉇䉄䈓䈘㩷 䈢䈣䈎䉍䈠䉄䈱䈧䉁䈫䈖䈠䉂䉏(㓸 5 ᱌ 436)⮮ේ᳗⋧ᅚ
P60䇼ᄐ䇽[ᘣགྷ]au koto no hisashi ni fuke-ru ayame-gusa tada karisome no tsuma to-koso mire
䃂48䃂䈩䉅䈸䉏䈪䉕䈚䉃䈎䈵䈭䈒䈸䈥䈱䈲䈭㩷 䈠䈖䈮䈉䈧䉏䈳䈭䉂䈡䉕䉍䈔䉎(㓸 3 ᱌ 87)ಠᴡౝるᕡ
P61䇼ᄐ䇽[ᯏ⍮]te mo fure-de oshimu kai naku fuji-no-hana soko ni utsure-ba nami zo ori-keru
䃂49䃂䉃䈎䈚䉒䈏䈅䈧䉄䈚䉅䈱䉕䈍䉅䈵䈇䈪䈩㩷 䉂䈭䉏䈏䈾䈮䉅䈒䉎䈾䈢䉎䈎䈭(㓸 7 ᱌ 201)⮮ේቄㅢ
P62䇼ᄐ䇽[ᡆੱ]mukashi wa-ga atsume-shi mono wo omoi-ide-te minaregaoni-mo kuru hotaru kana
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verse INDEX
⍴᱌⚝ᒁ
䃂50䃂䈧䈧䉄䈬䉅䈎䈒䉏䈯䉅䈱䈲䈭䈧䉃䈚䈱㩷 䉂䉋䉍䈅䉁䉏䉎䈍䉅䈵䈭䉍䈔䉍(㓸 2 ᱌ 209)⹗䉂ੱ⍮䉌䈝
P62䇼ᄐ䇽[઒⸤]tsutsume-domo kakure-nu mono wa natsu-mushi no mi yori amare-ru omoi nari-keri
䃨51䃨䈭䈒䈖䉔䉅䈐䈖䈋䈯䉅䈱䈱䈎䈭䈚䈐䈲㩷 䈚䈱䈶䈮䉅䉉䉎䈾䈢䉎䈭䉍䈔䉍(㓸 6 ᱌ 73)⮮ේ㜞㆙
P63䇼ᄐ䇽[઒⸤]naku koe mo kikoe-nu mono-no kanashiki wa shinobi ni moyuru hotaru nari-keri
䃨52䃨䉅䈱䈍䉅䈻䈳䈘䈲䈱䈾䈢䉎䉅䉒䈏䉂䉋䉍㩷 䈅䈒䈏䉏䈇䈨䉎䈢䉁䈎䈫䈡䉂䉎(㓸 4 ᱌ 1164)๺ᴰᑼㇱ
P64䇼ᄐ䇽[઒⸤]mono-omoe-ba sawa no hotaru mo wa-ga mi yori akugare-izuru tama ka-to-zo miru
䃂53䃂䈇䈲䈢䈢䈒䈢䈮䈱䉂䈨䈱䉂䈍䈫䈨䉏䈩㩷 䈭䈧䈮䈚䉌䉏䈯䉂䉇䉁䈼䈱䈘䈫(㓸 7 ᱌ 221)⮮ේᢎ㐳
P65䇼ᄐ䇽[ค᥊]iwa tataku tani no mizu nomi otozure-te natsu ni shira-re-nu mi-yama-be no sato
䃨54䃨䉇䉁䈎䈕䉇䈇䈲䉅䉎䈚䉂䈨䈍䈫䈘䈋䈩㩷 䈭䈧䈱䈾䈎䈭䉎䈵䈓䉌䈚䈱䈖䉔(㓸 7 ᱌ 210)ᘏ౞
P65䇼ᄐ䇽[ค᥊]yama-kage ya iwa moru shimizu oto sae-te natsu no hoka naru higurashi no koe
䃨55䃨䈠䉌䈱䈉䉂䈮䈒䉅䈱䈭䉂䈢䈤䈧䈐䈱䈸䈰㩷 䈾䈚䈱䈲䉇䈚䈮䈖䈑䈎䈒䉎䉂䉉(㓸 3 ᱌ 488)ᩑᧄੱ㤗ํ
P66䇼ᄐ䇽[ค᥊]sora no umi ni kumo no nami tachi tsuki no fune hoshi no hayashi ni kogi-kakuru miyu
䃂56䃂䈅䈎䈭䈒䈮䉁䈣䈐䉅䈧䈐䈱䈎䈒䉎䉎䈎㩷 䉇䉁䈱䈲䈮䈕䈩䈇䉏䈝䉅䈅䉌䈭䉃(㓸 1 ᱌ 884)࿷ේᬺᐔ
P67䇼ᄐ䇽[େ⺽]aka-na-ku-ni madaki-mo tsuki no kakururu-ka yama-no-ha nige-te ire-zu mo ara-namu
䃂57䃂䈭䈧䈱䉋䈲䉁䈣䉋䈵䈭䈏䉌䈅䈔䈯䉎䉕㩷 䈒䉅䈱䈇䈨䈖䈮䈧䈐䉇䈬䉎䉌䉃(㓸 1 ᱌ 166)ᷡේᷓ㙃ῳ
P67䇼ᄐ䇽[େ⺽]natsu no yo wa mada yoi nagara ake-nuru wo kumo no izuko ni tsuki yadoru-ramu
䃂58䃂䈅䈵䉂䈩䉅䈅䈲䈪䉅䈭䈕䈒䈢䈭䈳䈢䈲㩷 䈇䈧䈎䈖䈖䉐䈱䈱䈬䈔䈎䉎䈼䈐(㓸 3 ᱌ 153)⹗䉂ੱ⍮䉌䈝
P68䇼ᄐ䇽[ቄ㗴]ai-mi-te-mo awa-de-mo nageku tanabata wa itsu-ka kokoro no nodokekaru-beki
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䇸৾ᄕ䇹䈲৻ᐕ৻ᄛ㘻䈎䈯ᕜ䇷
䃂59䃂䉋䉌䉏䈧䉎䈱䉅䈞䈱䈒䈘䈱䈎䈕䉐䈵䈩㩷 䈜䈝䈚䈒䈒䉅䉎䉉䈸䈣䈤䈱䈠䉌(㓸 8 ᱌ 263)⷏ⴕ
P70䇼ᄐ䇽[ค᥊]yora-re-tsuru no-mo-se-no kusa no kageroi-te suzushiku kumoru yuu-dachi no sora
㵪⑺䋺Autumn㵪
䃂60䃂䈅䈐䈤䈎䈐䈔䈚䈐䈱䉅䉍䈮䈭䈒䈞䉂䈱㩷 䈭䉂䈣䈱䈧䉉䉇䈚䈢䈳䈠䉃䉌䉃(㓸 8 ᱌ 270)⮮ේ䋨਻᧦䋩⦟⚻
P71䇼⑺䇽[ᯏ⍮]aki chikaki Keshiki-no-mori ni naku semi no namida no tsuyu ya shitaba somu-ramu
䃂61䃂䈅䈘䈏䈾䉕䈭䈮䈲䈎䈭䈚䈫䈍䉅䈵䈔䉃㩷 䈵䈫䉕䉅䈲䈭䈲䈘䈖䈠䉂䉎䉌䉄(㓸 3 ᱌ 1283)⮮ේ㆏ା
P72䇼⑺䇽[ᡆੱ]asa-gao wo nani-wa kanashi to omoi-kemu hito wo-mo hana wa sa-koso miru-rame
䃂62䃂䈵䈓䉌䈚䈱䈭䈐䈧䉎䈭䈻䈮䈵䈲䈒䉏䈯䈫㩷 䈍䉅䈻䈳䉇䉁䈱䈎䈕䈮䈡䈅䉍䈔䉎(㓸 1 ᱌ 204)⹗䉂ੱ⍮䉌䈝
P72䇼⑺䇽[ค᥊]higurashi no naki-tsuru naeni hi wa kure-nu to omoe-ba yama no kage ni-zo ari-keru
䃂63䃂䈭䈧䈫䈅䈐䈫䉉䈐䈎䈸䈠䉌䈱䈎䉋䈵䈥䈲㩷 䈎䈢䈻䈜䈝䈚䈐䈎䈟䉇䈸䈒䉌䉃(㓸 1 ᱌ 168)ಠᴡౝるᕡ
P73䇼⑺䇽[ቄ㗴]natsu to aki to yuki-kau sora no kayoi-ji wa kata-e suzushiki kaze ya fuku-ramu
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶ᄐ䈲ᄖ⑺䈲ౝ䈭䉎ᔃ䈎䈭䇷
䃂64䃂䈭䈮䉄䈪䈩䉕䉏䉎䈳䈎䉍䈡䉕䉂䈭䈻䈚㩷 䉒䉏䈍䈤䈮䈐䈫䈵䈫䈮䈎䈢䉎䈭(㓸 1 ᱌ 226)ㆉᤘ䋨⦟ጙቬ⽵䋩
P74䇼⑺䇽[େ⺽]na ni mede-te oreru bakari zo ominaeshi ware ochi-ni-ki to hito ni kataru-na
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶ฬᒁ䈎䉏䈩ਛり䈭䈬⷗䈯๺䈱ᔃ䇷
䃨65䃨䈅䈐䈐䈯䈫䉄䈮䈲䈘䉇䈎䈮䉂䈋䈰䈬䉅㩷 䈎䈟䈱䈍䈫䈮䈡䈍䈬䉐䈎䉏䈯䉎(㓸 1 ᱌ 169)⮮ේᢅⴕ
P76䇼⑺䇽[ォቄ]aki ki-nu to me ni-wa sayakani mie-ne-domo kaze no oto ni-zo odoroka-re-nuru
䃂66䃂䈖䈱䉁䉋䉍䉅䉍䈒䉎䈧䈐䈱䈎䈕䉂䉏䈳㩷 䈖䈖䉐䈨䈒䈚䈱䈅䈐䈲䈐䈮䈔䉍(㓸 1 ᱌ 184)⹗䉂ੱ⍮䉌䈝
P76䇼⑺䇽[ォቄ]ko-no-ma yori mori-kuru tsuki no kage mire-ba kokoro-zukushi no aki wa ki-ni-keri
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-6-
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⍴᱌⚝ᒁ
䃂67䃂䉇䈻䉃䈓䉌䈚䈕䉏䉎䉇䈬䈱䈘䈶䈚䈐䈮㩷 䈵䈫䈖䈠䉂䈋䈰䈅䈐䈲䈐䈮䈔䉍(㓸 3 ᱌ 140)ᕺᘮ
P77䇼⑺䇽[⻘ដ]yae-mugura shigere-ru yado no sabishiki ni hito koso mie-ne aki wa ki-ni-keri
䃂68䃂䈇䈫䈬䈚䈒䉅䈱䈍䉅䈸䉇䈬䈱䈲䈑䈱䈲䈮㩷 䈅䈐䈫䈧䈕䈧䉎䈎䈟䈱䉒䈶䈚䈘(㓸 2 ᱌ 220)⹗䉂ੱ⍮䉌䈝
P78䇼⑺䇽[ォቄ]itodoshiku mono-omou yado no hagi no ha ni aki to tsuge-tsuru kaze no wabishi-sa
䃨69䃨䈭䈒䉃䈚䈱䈵䈫䈧䈖䉔䈮䉅䈐䈖䈋䈯䈲㩷 䈖䈖䉐䈗䈖䉐䈮䉅䈱䉇䈎䈭䈚䈐(㓸 6 ᱌ 120)๺ᴰᑼㇱ
P79䇼⑺䇽[⥄ὼ]naku mushi no hitotsu-koe ni-mo kikoe-nu wa kokoro-gokoro-ni mono ya kanashiki
䃂70䃂䈇䈧䈫䈩䉅䈖䈵䈚䈎䉌䈝䈲䈅䉌䈰䈬䉅㩷 䈅䈐䈱䉉䈸䈼䈲䈅䉇䈚䈎䉍䈔䉍(㓸 1 ᱌ 546)⹗䉂ੱ⍮䉌䈝
P80䇼⑺䇽[ḳᕷ]itsu tote-mo koishikara-zu wa ara-ne-domo aki no yuu-be wa ayashikari-keri
䃂71䃂䈭䈏䉃䉏䈳䈖䈵䈚䈐䈵䈫䈱䈖䈵䈚䈐䈮㩷 䈒䉅䉌䈳䈒䉅䉏䈅䈐䈱䉋䈱䈧䈐(㓸 5 ᱌ 384)⮮ේၮశ
P80䇼⑺䇽[ḳᕷ]nagamure-ba koishiki hito no koishiki ni kumora-ba kumore aki no yo no tsuki
䃨72䃨䈖䈫䈭䉌䈳䉇䉂䈮䈡䈅䉌䉁䈚䈅䈐䈱䉋䈱㩷 䈭䈡䈧䈐䈎䈕䈱䈵䈫䈣䈱䉄䈭䉎(㓸 3 ᱌ 796)⹗䉂ੱ⍮䉌䈝
P81䇼⑺䇽[⻘ដ]koto-nara-ba yami ni-zo ara-mashi aki no yo no na-zo tsuki-kage no hito-danome-naru
䃨73䃨䈭䈕䈔䈫䈩䈧䈐䉇䈲䉅䈱䉕䈍䉅䈲䈜䉎㩷 䈎䈖䈤䈏䈾䈭䉎䉒䈏䈭䉂䈣䈎䈭(㓸 7 ᱌ 929)⷏ⴕ
P82䇼⑺䇽[⻘ដ]nageke tote tsuki yawa mono wo omowasuru kakochigaonaru wa-ga namida kana
䃨74䃨䈧䈐䉂䉏䈳䈤䈥䈮䉅䈱䈖䈠䈎䈭䈚䈔䉏㩷 䉒䈏䉂䈵䈫䈧䈱䈅䈐䈮䈲䈅䉌䈰䈬(㓸 1 ᱌ 193)ᄢᳯජ㉿
P83䇼⑺䇽[ᯏ⍮]tsuki mire-ba chijini mono koso kanashikere wa-ga mi hitotsu no aki ni-wa ara-ne-do
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䇸ฬᒁ䈐䇹⧓㑆ᒁ䈒૛ᚲ⠪⍴᱌ᝥ䈩䇷
䃂75䃂䈅䈐䈎䈟䈮䈢䈭䈶䈒䈒䉅䈱䈢䈋䉁䉋䉍㩷 䉅䉏䈇䈨䉎䈧䈐䈱䈎䈕䈱䈘䉇䈔䈘(㓸 8 ᱌ 413)⮮ේ㗼テ
P85䇼⑺䇽[ค᥊]aki-kaze ni tanabiku kumo no tae-ma yori more-izuru tsuki no kage no sayake-sa
䃂76䃂䈚䉌䈒䉅䈮䈲䈰䈉䈤䈎䈲䈚䈫䈹䈎䉍䈱㩷 䈎䈝䈘䈻䉂䉉䉎䈅䈐䈱䉋䈱䈧䈐(㓸 1 ᱌ 191)⹗䉂ੱ⍮䉌䈝
P85䇼⑺䇽[ค᥊]shira-kumo ni hane uchi-kawashi tobu kari no kazu sae miyuru aki no yo no tsuki
䃂77䃂䈇䈨䈒䈮䉅䈖䉋䈵䈱䈧䈐䉕䉂䉎䈵䈫䈱㩷 䈖䈖䉐䉇䈍䈭䈛䈠䉌䈮䈜䉃䉌䉃(㓸 5 ᱌ 173)⮮ේᔘᢎ
P86䇼⑺䇽[ቄ㗴]izuku ni-mo koyoi no tsuki wo miru hito no kokoro ya onaji sora ni sumu-ramu
䃂78䃂䈲䉎䈭䈧䈮䈠䉌䉇䈲䈎䈲䉎䈅䈐䈱䉋䈱㩷 䈧䈐䈚䉅䈇䈎䈪䈩䉍䉁䈘䉎䉌䉃(㓸 6 ᱌ 96)⮮ේኅᚑ
P87䇼⑺䇽[ᯏ⍮]haru natsu ni sora yawa kawaru aki no yo no tsuki shimo ikade teri-masaru-ramu
䃂79䃂䈖䈖䉐䈮䉅䈅䉌䈪䈉䈐䉋䈮䈭䈏䉌䈻䈳㩷 䈖䈵䈚䈎䉎䈼䈐䉋䈲䈱䈧䈐䈎䈭(㓸 4 ᱌ 861)ਃ᧦㒮
P87䇼⑺䇽[ḳᕷ]kokoro ni-mo ara-de uki-yo ni nagarae-ba koishikaru-beki yowa no tsuki kana
䃂80䃂䈅䈐䈮䉁䈢䈅䈲䉃䈅䈲䈛䉅䈚䉌䈯䉂䈲㩷 䈖䉋䈵䈳䈎䉍䈱䈧䈐䉕䈣䈮䉂䉃(㓸 6 ᱌ 97)ਃ᧦㒮
P88䇼⑺䇽[ḳᕷ]aki ni mata awa-mu awa-ji mo shira-nu mi wa koyoi-bakari no tsuki wo-dani mi-mu
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䇸ᓮ㐷䇹ㅌ䈐䇸㒮䇹䈮౉䉎਎䉕ၫ䉎䈲⺕䋿䇷
䃨81䃨䈜䈣䈐䈔䉃䉃䈎䈚䈱䈵䈫䉅䈭䈐䉇䈬䈮㩷 䈢䈣䈎䈕䈜䉎䈲䈅䈐䈱䉋䈱䈧䈐(㓸 4 ᱌ 253)ᕺᘮ
P89䇼⑺䇽[ḳᕷ]sudaki-kemu mukashi no hito mo naki yado ni tada kage-suru wa aki no yo no tsuki
䃨82䃨䉅䉐䈫䉅䈮䈭䈏䉄䈚䈵䈫䉅䉒䉏䉅䈭䈐㩷 䉇䈬䈮䈲䈵䈫䉍䈧䈐䉇䈜䉃䉌䉃(㓸 4 ᱌ 856)⮮ේ㐳ኅ
P90䇼⑺䇽[ḳᕷ]morotomoni nagame-shi hito mo ware mo naki yado ni-wa hitori tsuki ya sumu-ramu
䃂83䃂䈲䉎䈲䈢䈣䈲䈭䈱䈵䈫䈻䈮䈘䈒䈳䈎䉍㩷 䉅䈱䈱䈅䈲䉏䈲䈅䈐䈡䉁䈘䉏䉎(㓸 3 ᱌ 511)⹗䉂ੱ⍮䉌䈝
P91䇼⑺䇽[ᯏ⍮]haru wa tada hana no hitoeni saku bakari mono no aware wa aki zo masare-ru
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䇸䈎䈢䈐䇹䈬䈤ખ⦟䈒ㆆ䈹䇸ຠቯ䉄䇹䇷
䃂84䃂䉃䉌䈘䈐䈮䈉䈧䉐䈵䈮䈚䉕䈍䈒䈚䉅䈱㩷 䈭䈾䈚䉌䈑䈒䈫䉂䈜䉎䈭䉍䈔䉍(㓸 4 ᱌ 358)⮮ේ⾗✁
P92䇼⑺䇽[ᯏ⍮]murasaki ni utsuroi-ni-shi wo oku shimo no nao sira-giku to misuru nari-keri mi nari-keri
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-7-
㩷㩷㩷㩷㩷㩷㩷㩷㩷
verse INDEX
⍴᱌⚝ᒁ
䃂85䃂䈅䈐䈒䉏䈬䈇䉐䉅䈎䈲䉌䈯䈫䈐䈲䉇䉁㩷 䉋䈠䈱䉅䉂䈥䉕䈎䈟䈡䈎䈚䈔䉎(㓸 1 ᱌ 362)ဈ਄ᤚೣ
P93䇼⑺䇽[ᯏ⍮]aki kure-do iro mo kawara-nu Tokiwa-yama yoso no momiji wo kaze zo kashi-keru
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶᱌⹗䉂䈱ฬ䈫ᛛ਄䈕䈚䇸ዳ㘑᱌䇹䇷
䃂86䃂䈘䈾䉇䉁䈱䈲䈲䈠䈱䉅䉂䈥䈤䉍䈯䈼䉂㩷 䉋䉎䈘䈻䉂䉋䈫䈩䉌䈜䈧䈐䈎䈕(㓸 1 ᱌ 281)⹗䉂ੱ⍮䉌䈝
P94䇼⑺䇽[ᯏ⍮]Saho-yama no hahaso no momiji chiri-nu-be-mi yoru sae miyo to terasu tsuki-kage
䃂87䃂䉅䈱䈗䈫䈮䈅䈐䈡䈎䈭䈚䈐䉅䉂䈥䈧䈧㩷 䈉䈧䉐䈵䉉䈒䉕䈎䈑䉍䈫䈍䉅䈻䈳(㓸 1 ᱌ 187)⹗䉂ੱ⍮䉌䈝
P95䇼⑺䇽[ḳᕷ]mono-goto-ni aki zo kanashiki momiji-tsutsu utsuroi-yuku wo kagiri to omoe-ba
䃂88䃂䈅䈐䈲䈐䈯䉅䉂䈥䈲䉇䈬䈮䈸䉍䈚䈐䈯㩷 䉂䈤䈸䉂䉒䈔䈩䈫䈸䈵䈫䈲䈭䈚(㓸 1 ᱌ 287)⹗䉂ੱ⍮䉌䈝
P96䇼⑺䇽[ḳᕷ]aki wa ki-nu momiji wa yado ni furi-shiki-nu michi fumi-wake-te tou hito wa nashi
䃨89䃨䈘䈶䈚䈘䈮䉇䈬䉕䈢䈤䈇䈪䈩䈭䈏䉃䉏䈳㩷 䈇䈨䈖䉅䈍䈭䈛䈅䈐䈱䉉䈸䈓䉏(㓸 4 ᱌ 333)⦟᥻
P96䇼⑺䇽[ḳᕷ]sabishi-sa ni yado wo tachi-ide-te nagamure-ba izuko mo onaji aki no yuu-gure
䃨90䃨䈘䈶䈚䈘䈲䈠䈱䈇䉐䈫䈚䉅䈭䈎䉍䈔䉍㩷 䉁䈐䈢䈧䉇䉁䈱䈅䈐䈱䉉䈸䈓䉏(㓸 8 ᱌ 361)኎⬒
P97䇼⑺䇽[ᖗ䉍]sabishi-sa wa so-no iro to-shimo nakari-keri maki tatsu yama no aki no yuu-gure
䃂91䃂䉃䉌䈘䉄䈱䈧䉉䉅䉁䈣䈵䈯䉁䈐䈱䈲䈮㩷 䈐䉍䈢䈤䈱䈿䉎䈅䈐䈱䉉䈸䈓䉏(㓸 8 ᱌ 491)኎⬒
P98䇼⑺䇽[ค᥊]mura-same no tsuyu mo mada hi-nu maki no ha ni kiri tachi-noboru aki no yuu-gure
䃂92䃂䉂䉒䈢䈞䈳䈲䈭䉅䉅䉂䈥䉅䈭䈎䉍䈔䉍㩷 䈉䉌䈱䈫䉁䉇䈱䈅䈐䈱䉉䈸䈓䉏(㓸 8 ᱌ 363)⮮ේቯኅ
P98䇼⑺䇽[⻘ដ]miwatase-ba hana mo momiji mo nakari-keri ura no toma-ya no aki no yuu-gure
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䇸䈱䈱䈱᡹䉄䋧૕⸒ᱛ䉄䇹䈱䇸ᣂฎ੹䇹䇷
䃂93䃂䈐䉍䈑䉍䈜䉋䈙䉃䈮䈅䈐䈱䈭䉎䉁䉁䈮㩷 䉋䉒䉎䈎䈖䉔䈱䈫䈾䈙䈎䉍䉉䈒(㓸 8 ᱌ 472)⷏ⴕ
P100䇼⑺䇽[⥄ὼ]kirigirisu yo-zamu ni aki no naru mama-ni yowaru-ka koe no toozakari-yuku
䃨94䃨䈍䈒䉇䉁䈮䉅䉂䈥䈸䉂䉒䈔䈭䈒䈚䈎䈱㩷 䈖䉔䈐䈒䈫䈐䈡䈅䈐䈲䈎䈭䈚䈐(㓸 1 ᱌ 215)⹗䉂ੱ⍮䉌䈝
P100䇼⑺䇽[ḳᕷ]oku-yama ni momiji fumi-wake naku shika no koe kiku toki zo aki wa kanashiki
䃂95䃂䈅䈐䈎䈟䈮䈅䈻䈝䈤䉍䈯䉎䉅䉂䈥䈳䈱㩷 䉉䈒䈻䈘䈣䉄䈯䉒䉏䈡䈎䈭䈚䈐(㓸 1 ᱌ 286)⹗䉂ੱ⍮䉌䈝
P101䇼⑺䇽[ᐨ⹖]aki-kaze ni ae-zu chiri-nuru momiji-ba no yukue sadame-nu ware zo kanashiki
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䇸ᐨ⹖䇹䈲䇸⛗䇹䈎䉌䇸ᧄ㖸䇹䈱ᯅᷰ䈚䇷
㵪౻䋺Winter㵪
䃂96䃂䈅䈐䈱䈉䈤䈲䈅䈲䉏䈚䉌䈞䈚䈎䈟䈱䈍䈫䈱㩷 䈲䈕䈚䈘䈠䈸䉎䈸䉉䈲䈐䈮䈔䉍(㓸 7 ᱌ 393)⮮ේᢎ㐳
P103䇼౻䇽[ォቄ]aki no uchi wa aware shira-se-shi kaze no oto no hageshi-sa souru fuyu wa ki-ni-keri
䃂97䃂䈖䈱䈲䈤䉎䉇䈬䈲䈐䈐䉒䈒䈖䈫䈡䈭䈐㩷 䈚䈓䉏䈜䉎䉋䉅䈚䈓䉏䈞䈯䉋䉅(㓸 4 ᱌ 382)Ḯ㗬ታ
P103 ౻䇽[⻘ដ]ko-no-ha chiru yado wa kiki-waku koto zo naki shigure-suru yo mo shigure-se-nu yo mo
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶⑺෰䈑䈩䈵䈢ደ☜䉅䉍䈱䇸ᤨ㔎䇹䈎䈭䇷
䃂98䃂䈢䈧䈢䈏䈲䈮䈚䈐䈍䉍䈎䈒䈎䉃䈭䈨䈐㩷 䈚䈓䉏䈱䈅䉄䉕䈢䈩䈯䈐䈮䈚䈩(㓸 1 ᱌ 314)⹗䉂ੱ⍮䉌䈝
P104䇼౻䇽[ᯏ⍮]Tatsuta-gawa nishiki ori-kaku kamunazuki shigure no ame wo tate-nuki-ni-shi-te
䃂99䃂䈅䈘䈿䉌䈔䈉䈥䈱䈎䈲䈑䉍䈢䈋䈣䈋䈮㩷 䈅䉌䈲䉏䉒䈢䉎䈞䈟䈱䈅䈛䉐䈑(㓸 7 ᱌ 420)⮮ේቯ㗬
P105䇼౻䇽[ค᥊]asaborake Uji no kawa-giri taedaeni araware-wataru seze no ajiro-gi
䃂100䃂䈍䈐䈅䈎䈜䈚䉅䈫䈫䉅䈮䉇䈔䈘䈲䉂䈭㩷 䈸䉉䈱䉋䈸䈎䈐䈧䉂䉅䈔䈯䉌䉃(㓸 3 ᱌ 257)ᄢਛ⤿⢻ት
P106䇼౻䇽[ቄ㗴]oki-akasu shimo to tomo-ni ya kesa wa mina fuyu no yo fukaki tsumi mo kenu-ramu
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䇸੽ฬ䇹䈮⟋ᶖ䈤ᕆ䈓Ꮷ⿛䈎䈭䇷
verse INDEX
-8-
http//zubaraie.com
⍴᱌⚝ᒁ
䃂101䃂䈭䈮䈗䈫䉕䉁䈧䈫䈲䈭䈚䈮䈅䈔䈒䉏䈩㩷 䈖䈫䈚䉅䈔䈸䈮䈭䉍䈮䈔䉎䈎䈭(㓸 5 ᱌(⇣ᧄ))Ḯ࿖ା
P107䇼౻䇽[ቄ㗴]nani-goto wo matsu to-wa nashi-ni ake-kure-te kotoshi mo kyou ni nari-ni-keru kana
䃂102䃂䈔䈸䈗䈫䈮䈔䈸䉇䈎䈑䉍䈫䉕䈚䉄䈬䉅㩷 䉁䈢䉅䈖䈫䈚䈮䈅䈵䈮䈔䉎䈎䈭(㓸 8 ᱌ 706)⮮ේବᚑ
P108䇼౻䇽[ቄ㗴]kyou-goto-ni kyou ya kagiri to oshime-domo mata-mo kotoshi ni ai-ni-keru kana
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶ᓟ䈱ઍ䈮䇸᱌䈱ᓼ䇹⺑䈒ཐ⺑⹤䇷
䃂103䃂䈵䈫䉍䉂䉎䈇䈔䈱䈖䈾䉍䈮䈜䉃䈧䈐䈱㩷 䉇䈏䈩䈠䈪䈮䉅䈉䈧䉍䈯䉎䈎䈭(㓸 8 ᱌ 640)⮮ේବᚑ
P109䇼౻䇽[ḳᕷ]hitori miru ike no koori ni sumu tsuki no yagate sode ni-mo utsuri-nuru kana
䃂104䃂䈸䉉䈭䈏䉌䈠䉌䉋䉍䈲䈭䈱䈤䉍䈒䉎䈲㩷 䈒䉅䈱䈅䈭䈢䈲䈲䉎䈮䉇䈅䉎䉌䉃(㓸 1 ᱌ 330)ᷡේᷓ㙃ῳ
P110䇼౻䇽[ᯏ⍮]fuyu nagara sora yori hana no chiri-kuru wa kumo no anata wa haru ni-ya-aru-ramu
䃂105䃂䈅䈘䈿䉌䈔䈅䉍䈅䈔䈱䈧䈐䈫䉂䉎䉁䈪䈮㩷 䉋䈚䈱䈱䈘䈫䈮䈸䉏䉎䈚䉌䉉䈐(㓸 1 ᱌ 332)ဈ਄ᤚೣ
P110䇼౻䇽[ค᥊]asaborake ariake-no-tsuki to miru made-ni Yoshino-no-sato ni fure-ru shira-yuki
䃂106䃂䉁䈧䈵䈫䈱䈇䉁䉅䈐䈢䉌䈳䈇䈎䈏䈞䉃㩷 䈸䉁䉁䈒䉕䈚䈐䈮䈲䈱䉉䈐䈎䈭(㓸 5 ᱌ 284)๺ᴰᑼㇱ
P111䇼౻䇽[㗿ᦸ]matsu hito no ima mo kitara-ba ikaga semu fuma-ma-ku oshiki niwa no yuki kana
䃂107䃂䈘䈶䈚䈘䈮䈔䈹䉍䉕䈣䈮䉅䈢䈢䈛䈫䈩㩷 䈚䈳䉕䉍䈒䈹䉎䈸䉉䈱䉇䉁䈙䈫(㓸 4 ᱌ 390)๺ᴰᑼㇱ
P112䇼౻䇽[ḳᕷ]sabishi-sa ni keburi wo dani-mo tata-ji tote shiba ori-kuburu fuyu no yama-zato
㵪ᕜᗲ䋺Love㵪
䃂108䃂䈖䈵䈚䈫䉅䈇䈲䈳䈖䈖䉐䈱䉉䈒䈼䈐䈮㩷 䈒䉎䈚䉇䈵䈫䉄䈧䈧䉃䈍䉅䈵䈲(㓸 8 ᱌ 1090)ㄭⴡ㒮
P112䇼ᕜᗲ䇽[ḳᕷ]koishi to-mo iwa-ba kokoro no yuku-beki-ni kurushi-ya hitome tsutsumu omoi wa
䃂109䃂䈢䉁䈱䉕䉋䈢䈋䈭䈳䈢䈋䈰䈭䈏䉌䈻䈳㩷 䈚䈱䈹䉎䈖䈫䈱䉋䉒䉍䉅䈡䈜䉎(㓸 8 ᱌ 1034)ᑼሶౝⷫ₺
P113䇼ᕜᗲ䇽[ḳᕷ]tama-no-wo yo tae-na-ba tae-ne nagarae-ba shinoburu koto no yowari-mozo-suru
䃨110䃨䈚䈱䈹䉏䈬䈇䉐䈮䈇䈪䈮䈔䉍䉒䈏䈖䈵䈲㩷 䉅䈱䉇䈍䉅䈸䈫䈵䈫䈱䈫䈸䉁䈪(㓸 3 ᱌ 622)ᐔ౗⋓
P114䇼ᕜᗲ䇽[ḳᕷ]shinobure-do iro ni ide-ni-keri wa-ga koi wa mono ya omou to hito no tou made
䃂111䃂䈇䈎䈪䈎䈫䈍䉅䈸䈖䈖䉐䈱䈅䉎䈫䈐䈲㩷 䈍䈿䉄䈒䈘䈻䈡䈉䉏䈚䈎䉍䈔䉎(㓸 3 ᱌ 693)⹗䉂ੱ⍮䉌䈝
P114䇼ᕜᗲ䇽[㗿ᦸ]ikade-ka to omou kokoro no aru toki wa obomeku sae-zo ureshikari-keru
䃨112䃨䈍䉅䈵䈧䈧䈯䉏䈳䉇䈵䈫䈱䉂䈋䈧䉌䉃㩷 䉉䉄䈫䈚䉍䈞䈳䈘䉄䈙䉌䉁䈚䉕(㓸 1 ᱌ 552)ዊ㊁ዊ↸
P115䇼ᕜᗲ䇽[ḳᕷ]omoi-tsutsu nure-ba-ya hito no mie-tsu-ramu yume to shiri-se-ba same-zara-mashi-wo
䃂113䃂䈉䈢䈢䈰䈮䈖䈵䈚䈐䈵䈫䉕䉂䈩䈚䉋䉍㩷 䉉䉄䈩䈸䉅䈱䈲䈢䈱䉂䈠䉄䈩䈐(㓸 1 ᱌ 553)ዊ㊁ዊ↸
P115䇼ᕜᗲ䇽[㗿ᦸ]utata-ne ni koishiki hito wo mite-shi yori yume chuu mono wa tanomi-some-te-ki
䃂114䃂䉉䉄䉋䉉䉄䈖䈵䈚䈐䈵䈫䈮䈅䈵䉂䈜䈭㩷 䈘䉄䈩䈱䈱䈤䈲䉒䈶䈚䈎䉍䈔䉍(㓸 3 ᱌ 709)⹗䉂ੱ⍮䉌䈝
P116䇼ᕜᗲ䇽[ḳᕷ]yume yo yume koishiki hito ni ai-misu-na same-te no nochi wa wabishikari-keri
䃂115䃂䉉䉌䈱䈫䉕䉒䈢䉎䈸䈭䈶䈫䈎䈥䉕䈢䈋㩷 䉉䈒䈻䉅䈚䉌䈯䈖䈵䈱䉂䈤䈎䉅(㓸 8 ᱌ 1071)ᦦ⑧ᅢᔘ
P116䇼ᕜᗲ䇽[ᐨ⹖]Yura-no-to wo wataru funa-bito kaji wo tae yukue mo shira-nu koi no michi kamo
䃂116䃂䈎䈟䉕䈇䈢䉂䈇䈲䈉䈧䈭䉂䈱䈍䈱䉏䈱䉂㩷 䈒䈣䈔䈩䉅䈱䉕䈍䉅䈸䈖䉐䈎䈭(㓸 6 ᱌ 211)Ḯ㊀ਯ
P117䇼ᕜᗲ䇽[ᐨ⹖]kaze wo ita-mi iwa utsu nami no onore nomi kudake-te mono wo omou koro kana
䃂117䃂䈞䉕䈲䉇䉂䈇䈲䈮䈞䈎䉎䉎䈢䈐䈏䈲䈱㩷 䉒䉏䈩䉅䈜䉔䈮䈅䈲䉃䈫䈡䈍䉅䈸(㓸 6 ᱌ 229)ፏᓼ㒮
P118䇼ᕜᗲ䇽[ᐨ⹖]se wo haya-mi iwa ni seka-ruru taki-gawa no ware-te-mo sue ni awa-mu to-zo omou
䃂118䃂䉂䈎䈐䉅䉍䉔䈛䈱䈢䈒䈵䈱䉋䉎䈲䉅䈋㩷 䈵䉎䈲䈐䈋䈧䈧䉅䈱䉕䈖䈠䈍䉅䈻(㓸 6 ᱌ 225)ᄢਛ⤿⢻ት
P119䇼ᕜᗲ䇽[ᐨ⹖]mi-kaki-mori eji no taku hi no yoru wa moe hiru wa kie-tsutsu mono wo-koso omoe
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⍴᱌⚝ᒁ
䃂119䃂䈇䈱䈤䉇䈲䈭䈮䈡䈲䈧䉉䈱䈅䈣䉅䈱䉕㩷 䈅䈸䈮䈚䈎䈻䈳䉕䈚䈎䉌䈭䈒䈮(㓸 1 ᱌ 615)♿෹ೣ
P120䇼ᕜᗲ䇽[㗿ᦸ]inochi yawa nani-zo-wa tsuyu no ada-mono wo au ni-shi kae-ba oshikara-na-ku-ni
䃂120䃂䈅䈵䉂䈩䈲䈚䈮䈞䈯䉂䈫䈡䈭䉍䈯䈼䈐㩷 䈢䈱䉃䉎䈮䈣䈮䈱䈹䉎䈇䈱䈤䈲(㓸 3 ᱌ 692)⹗䉂ੱ⍮䉌䈝
P121䇼ᕜᗲ䇽[େ⺽]ai-mi-te-wa shini-se-nu mi to-zo nari-nu-beki tanomuru ni-dani noburu inochi wa
䃂121䃂䈍䉅䈸䈵䈫䈍䉅䈲䈯䈵䈫䈱䈍䉅䈸䈵䈫㩷 䈍䉅䈲䈙䉌䈭䉃䈍䉅䈵䈚䉎䈼䈒(㓸 2 ᱌ 572)⹗䉂ੱ⍮䉌䈝
P121䇼ᕜᗲ䇽[େ⺽]omou hito omowa-nu hito no omou hito omowa-zara-namu omoi-shiru-beku
䃨122䃨䈅䈵䉂䈩䈱䈱䈤䈱䈖䈖䉐䈮䈒䉌䈹䉏䈳㩷 䉃䈎䈚䈲䉅䈱䉕䈍䉅䈲䈙䉍䈔䉍(㓸 3 ᱌ 710)⮮ේᢕᔘ
P122䇼ᕜᗲ䇽[ᓟᦺ]ai-mi-te no nochi no kokoro ni kurabure-ba mukashi wa mono wo omowa-zari-keri
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䇸䈐䈯䋯䈖䈯䇹䈮ජ䇱䈮ੂ䉎䉎ᆢᔃ䇷
䃨123䃨䈅䈲䈙䉍䈚䈫䈐䈇䈎䈭䉍䈚䉅䈱䈫䈩䈎㩷 䈢䈣䈇䉁䈱䉁䉅䉂䈰䈳䈖䈵䈚䈐(㓸 2 ᱌ 564)⹗䉂ੱ⍮䉌䈝
P124䇼ᕜᗲ䇽[ᓟᦺ]awa-zari-shi toki ikanari-shi mono tote-ka tada-ima no ma mo mi-ne-ba koishiki
䃨124䃨䈍䉅䈵䉇䉎䈖䈖䉐䈮䈢䈓䈸䉂䈭䉍䈞䈳㩷 䈵䈫䈵䈮䈤䈢䈶䈐䉂䈲䉂䈩䉁䈚(㓸 2 ᱌ 679)ᄢᳯජฎ
P124䇼ᕜᗲ䇽[ᓟᦺ]omoi-yaru kokoro ni taguu mi nari-se-ba hito-hi ni chi-tabi kimi wa mi-te-mashi
䃂125䃂䉁䈢䉅䈭䈒䈢䈣䈵䈫䈜䈥䈮䈐䉂䈍䉅䈸㩷 䈖䈵䈥䈮䉁䈬䈸䉒䉏䉇䈭䈮䈭䉎(㓸 7 ᱌ 674)⮮ේદㅢ
P125䇼ᕜᗲ䇽[େ⺽]mata-mo-naku tada hito-suji-ni kimi omou koi-ji ni madou ware ya nani-naru
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶⺕䈠⍮䉌䉃ཐ䈎⌀䈎ᕜ䈱᱌䇷
䃂126䃂䈅䈎䈪䈖䈠䈍䉅䈲䉃䈭䈎䈲䈲䈭䉏䈭䉄㩷 䈠䉕䈣䈮䈱䈤䈱䉒䈜䉏䈏䈢䉂䈮(㓸 1 ᱌ 717)⹗䉂ੱ⍮䉌䈝
P126䇼ᕜᗲ䇽[ᖗ䉍]aka-de koso omowa-mu naka wa hanare-na-me so wo-dani nochi no wasure-gatami ni
䃂127䃂䈧䉌䈎䉍䈚䈖䈖䉐䈭䉌䈵䈮䈅䈵䉂䈩䉅㩷 䈭䈾䉉䉄䈎䈫䈡䈉䈢䈏䈲䉏䈔䉎(㓸 5 ᱌ 397)Ḯⴕቬ
P127䇼ᕜᗲ䇽[ᓟᦺ]tsurakari-shi kokoro-narai ni ai-mi-te-mo nao yume ka-to-zo utagawa-re-keru
䃨128䃨䈐䉂䈏䈢䉄䉕䈚䈎䉌䈙䉍䈚䈇䈱䈤䈘䈻㩷 䈭䈏䈒䉅䈏䈭䈫䈍䉅䈵䈔䉎䈎䈭(㓸 4 ᱌ 669)⮮ේ⟵ቁ
P128䇼ᕜᗲ䇽[ᓟᦺ]kimi-ga tame oshikara-zari-shi inochi sae nagaku-mogana to omoi-keru kana
䃨129䃨䉒䈜䉏䈛䈱䉉䈒䈜䉔䉁䈪䈲䈎䈢䈔䉏䈳㩷 䈔䈸䉕䈎䈑䉍䈱䈇䈱䈤䈫䉅䈏䈭(㓸8 ᱌1149)⮮ේદ๟Უ㜞㓏⾆ሶ
P128䇼ᕜᗲ䇽[㗿ᦸ]wasure-ji no yuku-sue made wa katakere-ba kyou wo kagiri no inochi to-mogana
䃂130䃂䉁䈧䉋䈵䈮䈸䈔䉉䈒䈎䈰䈱䈖䉔䈐䈔䈳㩷 䈅䈎䈯䉒䈎䉏䈱䈫䉍䈲䉅䈱䈎䈲(㓸 8 ᱌ 1191)⍹ᷡ᳓೎ᒰశᷡᅚ
P129䇼ᕜᗲ䇽[⻘ដ]matsu yoi ni fuke-yuku kane no koe kike-ba aka-nu-wakare no tori wa mono-kawa
䃂131䃂䈅䉍䈅䈔䈱䈧䉏䈭䈒䉂䈋䈚䉒䈎䉏䉋䉍㩷 䈅䈎䈧䈐䈳䈎䉍䈉䈐䉅䈱䈲䈭䈚(㓸 1 ᱌ 625)ჼ↢ᔘጙ
P130䇼ᕜᗲ䇽[⻘ដ]ariake no tsurenaku mie-shi wakare yori akatsuki bakari uki mono wa nashi
䃂132䃂䈎䈝䈎䈝䈮䈍䉅䈵䈍䉅䈲䈝䈫䈵䈏䈢䉂㩷 䉂䉕䈚䉎䈅䉄䈲䈸䉍䈡䉁䈘䉏䉎(㓸 1 ᱌ 705)࿷ේᬺᐔ
P131䇼ᕜᗲ䇽[⻘ដ]kazukazuni omoi omowa-zu toi-gata-mi mi wo shiru ame wa furi-zo-masare-ru
䃂133䃂䈐䉂䉕䈍䈐䈩䈅䈣䈚䈗䈖䉐䉕䉒䈏䉅䈢䈳㩷 䈜䉔䈱䉁䈧䉇䉁䈭䉂䉅䈖䈋䈭䉃(㓸 1 ᱌ 1093) ⹗䉂ੱ⍮䉌䈝
P132䇼ᕜᗲ䇽[⻘ដ]kimi wo oki-te adashi-gokoro wo wa-ga mota-ba Sue-no-matsuyama nami mo koe-na-mu
㵪ᖤᕜ䋺Sad Love㵪
䃂134䃂䈇䈧䈲䉍䈱䈭䈐䉋䈭䉍䈞䈳䈇䈎䈳䈎䉍㩷 䈵䈫䈱䈖䈫䈱䈲䈉䉏䈚䈎䉌䉁䈚(㓸 1 ᱌ 712)⹗䉂ੱ⍮䉌䈝
P132䇼ᖤᕜ䇽[⻘ដ]itsuwari no naki yo nari-se-ba ika-bakari hito no koto-no-ha ureshikara-mashi
䃂135䃂䈇䈧䈲䉍䈫䈍䉅䈸䉅䈱䈎䉌䈇䉁䈘䉌䈮㩷 䈢䈏䉁䈖䈫䉕䈎䉒䉏䈲䈢䈱䉁䉃(㓸 1 ᱌ 713)⹗䉂ੱ⍮䉌䈝
P133䇼ᖤᕜ䇽[ḳᕷ]itsuwari to omou monokara imasarani ta-ga makoto wo-ka ware wa tanoma-mu
䃨136䃨䈤䈑䉍䈍䈐䈚䈵䈫䉅䈖䈝䉔䈱䈖䈱䉁䉋䉍㩷 䈢䈱䉄䈚䈧䈐䈱䈎䈕䈡䉅䉍䈒䉎(㓸 5 ᱌ 464)៨᡽ኅၳᴡ
P134䇼ᖤᕜ䇽[ḳᕷ]chigiri-oki-shi hito mo kozu...e no ko-no-ma yori tanome-shi tsuki no kage zo mori-kuru
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⍴᱌⚝ᒁ
䃨137䃨䉋䉅䈜䈏䉌䉅䈱䈍䉅䈸䈖䉐䈲䈅䈔䉇䉌䈪㩷 䈰䉇䈱䈵䉁䈘䈻䈧䉏䈭䈎䉍䈔䉍(㓸 7 ᱌ 766)ବᕺ
P134䇼ᖤᕜ䇽[ḳᕷ]yo-mo-sugara mono-omou koro wa ake-yara-de ne-ya no hima sae tsurenakari-keri
䃨138䃨䉋䈮䈸䉎䈲䈒䉎䈚䈐䉅䈱䉕䉁䈐䈱䉇䈮㩷 䉇䈜䈒䉅䈜䈓䉎䈲䈧䈚䈓䉏䈎䈭(㓸 8 ᱌ 590)ੑ᧦㒮⼝ጘ
P135䇼ᖤᕜ䇽[⻘ដ]yo ni furu wa kurushiki mono-wo maki no ya ni yasuku-mo suguru hatsu-shigure kana
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䊌䉪䉌䈝䈮૞䉍ᦧ䈻䈩䈡䇸ᧄ᱌ข䉍䇹䇷
䃨139䃨䈒䉐䈎䉂䈱䉂䈣䉏䉅䈚䉌䈝䈉䈤䈸䈞䈳㩷 䉁䈨䈎䈐䉇䉍䈚䈵䈫䈡䈖䈵䈚䈐(㓸 4 ᱌ 755)๺ᴰᑼㇱ
P139䇼ᖤᕜ䇽[ᙬᣥ]kuro-kami no midare mo shira-zu uchi-fuse-ba mazu kaki-yari-shi hito zo koishiki
䃨140䃨䈭䈏䈎䉌䉃䈖䈖䉐䉅䈚䉌䈝䈒䉐䈎䉂䈱㩷 䉂䈣䉏䈩䈔䈘䈲䉅䈱䉕䈖䈠䈍䉅䈻(㓸 7 ᱌ 802)ᓙ⾫㐷㒮ၳᴡ
P139䇼ᖤᕜ䇽[ḳᕷ]nagakara-mu kokoro mo shira-zu kuro-kami no midare-te kesa wa mono wo koso omoe
䃂141䃂䈖䈵䈜䉏䈳䉒䈏䉂䈲䈎䈕䈫䈭䉍䈮䈔䉍㩷 䈘䉍䈫䈩䈵䈫䈮䈠䈲䈯䉅䈱䉉䉔(㓸 1 ᱌ 528)⹗䉂ੱ⍮䉌䈝
P140䇼ᖤᕜ䇽[େ⺽]koi-sure-ba wa-ga mi wa kage to nari-ni-keri sari-tote hito ni sowa-nu monoyue
䃂142䃂䈅䈚䈵䈐䈱䉇䉁䈬䉍䈱䉕䈱䈚䈣䉍䉕䈱㩷 䈭䈏䈭䈏䈚䉋䉕䈵䈫䉍䈎䉅䈰䉃(㓸 3 ᱌ 778)ᩑᧄੱ㤗ํ
P141䇼ᖤᕜ䇽[ᐨ⹖]ashihiki-no yama-dori no o no shidari-o no naganagashi yo wo hitori ka-mo ne-mu
䃂143䃂䈜䉂䈱䈋䈱䈐䈚䈮䉋䉎䈭䉂䉋䉎䈘䈻䉇㩷 䉉䉄䈱䈎䉋䈵䈥䈵䈫䉄䉋䈒䉌䉃(㓸 1 ᱌ 559)⮮ේᢅⴕ
P142䇼ᖤᕜ䇽[ᐨ⹖]Suminoe no kishi ni yoru nami yoru sae-ya yume no kayoi-ji hito-me yoku-ramu
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䇸ᐨ⹖䇹䈱䇸䈢䈢䉌䇹〯䉁䈯䈲䇸㔰 䈔䇹䇷
䃂144䃂䈐䉂䈖䈸䉎䈭䉂䈣䈱䈫䈖䈮䉂䈤䈯䉏䈳㩷 䉂䉕䈧䈒䈚䈫䈡䉒䉏䈲䈭䉍䈯䉎(㓸 1 ᱌ 567)⮮ේ⥝㘑
P143䇼ᖤᕜ䇽[ᄬᕜ]kimi kouru namida no toko ni michi-nure-ba mi-wo-tsukushi to-zo ware wa nari-nuru
䃂145䃂䉒䈶䈯䉏䈳䈇䉁䈲䈢䈍䈭䈛䈭䈮䈲䈭䉎㩷 䉂䉕䈧䈒䈚䈩䉅䈅䈲䉃䈫䈡䈍䉅䈸(㓸 2 ᱌ 961)ర⦟ⷫ₺
P144䇼ᖤᕜ䇽[ᐨ⹖]wabi-nure-ba ima hata onaji Naniwa naru mi-wo-tsukushi-te-mo awa-mu to-zo omou
䃂146䃂䈇䉁䈲䈢䈣䈍䉅䈵䈢䈋䈭䉃䈫䈳䈎䉍䉕㩷 䈵䈫䈨䈩䈭䉌䈪䈇䈸䉋䈚䉅䈏䈭(㓸 4 ᱌ 750)⮮ේ㆏㓷
P145䇼ᖤᕜ䇽[㗿ᦸ]ima-wa tada omoi-tae-na-mu to-bakari-wo hito-zute-nara-de yuu yoshi mogana
䃂147䃂䉋䈠䈭䈏䉌䈅䈲䉏䈫䈇䈲䉃䈖䈫䉋䉍䉅㩷 䈵䈫䈨䈩䈭䉌䈪䈇䈫䈻䈫䈡䈍䉅䈸(㓸 6 ᱌ 196)⮮ේᚑㅢ
P146䇼ᖤᕜ䇽[㗿ᦸ]yoso-nagara aware to iwa-mu koto yori-mo hito-zute-nara-de itoe to-zo omou
䃂148䃂䈍䉅䈵䉇䉎䈎䈢䈭䈐䉁䉁䈮䉒䈜䉏䉉䈒㩷 䈵䈫䈱䈖䈖䉐䈡䈉䉌䉇䉁䉏䈔䉎(㓸 4 ᱌ 787)ਛේ㗬ᚑᆄ
P147䇼ᖤᕜ䇽[ᄬᕜ]omoi-yaru kata naki mama-ni wasure-yuku hito no kokoro zo urayama-re-keru
䃂149䃂䈇䉁䉋䉍䈲䈫䈻䈫䉅䈇䈲䈛䉒䉏䈡䈢䈣㩷 䈵䈫䉕䉒䈜䉎䉎䈖䈫䉕䈚䉎䈼䈐(㓸 6 ᱌ 266)⹗䉂ੱ⍮䉌䈝
P147䇼ᖤᕜ䇽[㗿ᦸ]ima yori-wa toe to-mo iwa-ji ware zo tada hito wo wasururu koto wo shiru-beki
䃨150䃨䈤䈑䉍䈚䉅䉅䉐䈫䉅䈮䈖䈠䈤䈑䉍䈚䈎㩷 䉒䈜䉏䈳䉒䉏䉅䉒䈜䉏䉁䈚䈎䈳(㓸 7 ᱌ 864)⮮ේὑㅢ
P148䇼ᖤᕜ䇽[㗿ᦸ]chigiri-shi mo morotomoni koso chigiri-shika wasure-ba ware mo wasure-mashika-ba
䃂151䃂䈍䉅䈸䈖䈫䈭䈜䈖䈠䈎䉂䈱䈎䈢䈎䉌䉄㩷 䈚䈳䈚䉒䈜䉎䉎䈖䈖䉐䈧䈔䈭䉃(㓸 3 ᱌ 997)⹗䉂ੱ⍮䉌䈝
P149䇼ᖤᕜ䇽[㗿ᦸ]omou koto nasu koso kami no katakara-me shibashi wasururu kokoro tsuke-namu
䃂152䃂䈇䈱䈤䉕䈚䈎䈔䈩䈤䈑䉍䈚䈭䈎䈭䉏䈳㩷 䈢䉉䉎䈲䈚䈯䉎䈖䈖䈤䈖䈠䈜䉏(㓸 5 ᱌ 413)ታḮ
P149䇼ᖤᕜ䇽[ᄬᕜ]inochi wo-shi kake-te chigiri-shi naka nare-ba tayuru wa shinuru kokochi koso sure
䃂153䃂䉒䈜䉌䉎䉎䉂䉕䈳䈍䉅䈲䈝䈤䈎䈵䈩䈚㩷 䈵䈫䈱䈇䈱䈤䈱䉕䈚䈒䉅䈅䉎䈎䈭(㓸 3 ᱌ 870)⮮ේቄ❿ᅚ
P150䇼ᖤᕜ䇽[⻘ដ]wasura-ruru mi wo-ba omowa-zu chikai-te-shi hito no inochi no oshiku-mo aru kana
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶␨䉍䈩䉅ᕟ䉎䈮⿷䉌䈯䇸ᄢ๺␹䇹䇷
䃂154䃂䈵䈢䈜䉌䈮䈉䉌䉂䈚䉅䈞䈛䈘䈐䈱䉋䈮㩷 䈅䈸䉁䈪䈖䈠䈲䈤䈑䉌䈙䉍䈔䉄(㓸 7 ᱌ 775)⮮ේኅㅢ
P152䇼ᖤᕜ䇽[ᖗ䉍]hitasurani urami-shimo-se-ji saki-no-yo ni au made koso-wa chigira-zari-keme
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verse INDEX
⍴᱌⚝ᒁ
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䈅䉎䈲䈅䉍䈭䈐䈲䈭䈚䈫䈩⠴䈸䉎᳃䇷
䃂155䃂䈉䈫䈒䈭䉎䈵䈫䉕䈭䈮䈫䈩䈉䉌䉃䉌䉃㩷 䈚䉌䉏䈝䈚䉌䈯䉕䉍䉅䈅䉍䈚䈮(㓸 8 ᱌ 1297)⷏ⴕ
P153䇼ᖤᕜ䇽[ᖗ䉍]utoku-naru hito wo nani-tote uramu-ramu shira-re-zu shira-nu ori mo ari-shi ni
䃂156䃂䈉䉌䉂䉒䈶䈾䈘䈯䈠䈪䈣䈮䈅䉎䉅䈱䉕㩷 䈖䈵䈮䈒䈤䈭䉃䈭䈖䈠䉕䈚䈔䉏(㓸 4 ᱌ 815)⋧ᮨ
P154䇼ᖤᕜ䇽[ᄬᕜ]urami-wabi hosa-nu sode dani aru mono-wo koi ni kuchi-na-mu na koso oshikere
䃂157䃂䉋䈱䈭䈎䈱䈉䈐䉅䈧䉌䈐䉅䈚䈱䈹䉏䈳㩷 䈍䉅䈵䈚䉌䈝䈫䈵䈫䉇䉂䉎䉌䉃(㓸 3 ᱌ 933)⹗䉂ੱ⍮䉌䈝
P155䇼ᖤᕜ䇽[ḳᕷ]yo-no-naka no uki mo tsuraki mo shinobure-ba omoi shira-zu to hito ya miru-ramu
䃂158䃂䈇䈪䈩䈇䈮䈚䈅䈫䈣䈮䈇䉁䈣䈎䈲䉌䈯䈮㩷 䈢䈏䈎䉋䈵䈥䈫䈇䉁䈲䈭䉎䉌䉃(㓸 8 ᱌ 1409)࿷ේᬺᐔ
P156䇼ᖤᕜ䇽[ᄬᕜ]ide-te ini-shi ato dani imada kawara-nu-ni ta-ga kayoi-ji to ima-wa naru-ramu
䃨159䃨䈖䈵䈩䈚䈰䈖䈵䈩䈚䈰䈫䉇䉒䈑䉅䈖䈏㩷 䉒䈏䉇䈱䈎䈬䉕䈜䈑䈩䉉䈒䉌䉃(㓸 3 ᱌ 936)ᩑᧄੱ㤗ํ
P156䇼ᖤᕜ䇽[ᄬᕜ]koi-te shine koi-te shine to-ya wa-gimo-ko ga wa-ga-ya no kado wo sugi-te yuku-ramu
䃨160䃨䈅䈸䈖䈫䈱䈢䈋䈩䈚䈭䈒䈳䈭䈎䈭䈎䈮㩷 䈵䈫䉕䉅䉂䉕䉅䈉䉌䉂䈙䉌䉁䈚(㓸 3 ᱌ 678)⮮ේᦺᔘ
P158䇼ᖤᕜ䇽[ᄬᕜ]au koto no taete-shi naku-ba nakanakani hito wo-mo mi wo-mo urami-zara-mashi
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶ㅩ䈸䈼䈒䉅䈅䉌䈯ੱ⷗䉎䇸ች઀䈻䇹䇷
䃂161䃂䈐䉂䈖䈸䈫䈎䈧䈲䈐䈋䈧䈧䈾䈬䈸䉎䉕㩷 䈎䈒䈩䉅䈇䈔䉎䉂䈫䉇䉂䉎䉌䉃(㓸 4 ᱌ 807)⮮ේర⌀
P159䇼ᖤᕜ䇽[⻘ដ]kimi kou to katsu-wa kie-tsutsu hodo-furu wo kakute-mo ike-ru mi to-ya miru-ramu
䃨162䃨䈎䈢䉂䈖䈠䈇䉁䈲䈅䈢䈭䉏䈖䉏䈭䈒䈳㩷 䉒䈜䉎䉎䈫䈐䉅䈅䉌䉁䈚䉅䈱䉕(㓸 1 ᱌ 746)⹗䉂ੱ⍮䉌䈝
P160䇼ᖤᕜ䇽[ᄬᕜ]katami koso ima-wa ata nare kore naku-ba wasururu toki mo ara-mashi-mono-wo
䃂163䃂䉒䈶䈯䉏䈳䈚䈵䈩䉒䈜䉏䉃䈫䈍䉅䈻䈬䉅㩷 䉉䉄䈩䈸䉅䈱䈡䈵䈫䈣䈱䉄䈭䉎(㓸 1 ᱌ 569)⮮ේ⥝㘑
P161䇼ᖤᕜ䇽[ḳᕷ]wabi-nure-ba shiite wasure-mu to omoe-domo yume chuu mono zo hito-danome-naru
䃂164䃂䉒䈜䉏䈭䉃䈫䈍䉅䈸䈖䈖䉐䈱䈧䈒䈎䉌䈮㩷 䈅䉍䈚䉋䉍䈔䈮䉁䈨䈡䈖䈵䈚䈐(㓸 1 ᱌ 718)⹗䉂ੱ⍮䉌䈝
P162䇼ᖤᕜ䇽[ᄬᕜ]wasure-na-mu to omou kokoro no tsuku-kara-ni ari-shi-yori-keni mazu-zo koishiki
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶੹ᤄ䈪⫨⫶䈾䈬䉅㆑䈉᱌䇷
䃨165䃨䈎䈒䈳䈎䉍䈉䈚䈫䈍䉅䈸䈮䈖䈵䈚䈐䈲㩷 䉒䉏䈘䈻䈖䈖䉐䈸䈢䈧䈅䉍䈔䉍(㓸 3 ᱌ 989)⹗䉂ੱ⍮䉌䈝
P163䇼ᖤᕜ䇽[ᄬᕜ]kaku-bakari ushi to omou-ni kohishiki wa ware sae kokoro futatsu ari-keri
䃂166䃂䉋䈱䈉䈐䉅䈵䈫䈱䈧䉌䈐䉅䈚䈱䈹䉎䈮㩷 䈖䈵䈚䈐䈮䈖䈠䈍䉅䈵䉒䈶䈯䉏(㓸 8 ᱌ 1424)⮮ේర⌀
P163䇼ᖤᕜ䇽[ḳᕷ]yo no uki mo hito no tsuraki mo shinoburu ni koishiki ni-koso omoi-wabi-nure
䃂167䃂䈉䈐䉂䉕䈳䉒䉏䈣䈮䈇䈫䈸䈇䈫䈻䈢䈣㩷 䈠䉕䈣䈮䈍䈭䈛䈖䈖䉐䈫䈍䉅䈲䉃(㓸 8 ᱌ 1143)⮮ේବᚑ
P164䇼ᖤᕜ䇽[ᄬᕜ]uki mi wo-ba ware dani itou itoe tada so wo dani onaji kokoro to omowa-mu
䃂168䃂䈍䉅䈵䈐䉇䈅䈵䉂䈚䉋䈲䈱䈉䉏䈚䈘䈮㩷 䈱䈤䈱䈧䉌䈘䈱䉁䈘䉎䈼䈚䈫䈲(㓸 5 ᱌ 439)ᓼᄢኹታ⢻
P166䇼ᖤᕜ䇽[ᘣགྷ]omoi-ki-ya ai-mi-shi yowa no ureshi-sa ni nochi no tsura-sa no masaru-beshi to-wa
䃂169䃂䈅䈵䉂䈚䉕䈉䉏䈚䈐䈖䈫䈫䈍䉅䈵䈚䈲㩷 䈎䈻䉍䈩䈱䈤䈱䈭䈕䈐䈭䉍䈔䉍(㓸 4 ᱌ 772)㆏๮
P166䇼ᖤᕜ䇽[⻘ដ]ai-mi-shi wo ureshiki koto to omoi-shi wa kaeri-te nochi no nageki nari-keri
䃂170䃂䈇䉁䈲䈢䈣䈠䉋䈠䈱䈖䈫䈫䈍䉅䈵䈇䈪䈩㩷 䉒䈜䉎䈳䈎䉍䈱䈉䈐䈖䈫䉅䈏䈭(㓸 4 ᱌ 573)๺ᴰᑼㇱ
P168䇼ᖤᕜ䇽[㗿ᦸ]ima-wa tada so-yo so-no koto to omoi-ide-te wasuru-bakari-no uki koto mogana
䃂171䃂䉋䉅䈜䈏䉌䈤䈑䉍䈚䈖䈫䉕䉒䈜䉏䈝䈳㩷 䈖䈵䉃䈭䉂䈣䈱䈇䉐䈡䉉䈎䈚䈐(㓸 4 ᱌ 536)⮮ේ㆏㓉ᅚቯሶ
P169䇼ᖤᕜ䇽[ᘣགྷ]yo-mo-sugara chigiri-shi koto wo wasure-zu-ba koi-mu namida no iro zo yukashiki
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶ⴊ䈱ᶡ᳖䈱㏜ᶡᎹ䇷
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㵪ຟᗵ䋺Pathos㵪
䃨172䃨䉋䈱䈭䈎䈱䈉䈐䉅䈧䉌䈐䉅䈧䈕䈭䈒䈮㩷 䉁䈨䈚䉎䉅䈱䈲䈭䉂䈣䈭䉍䈔䉍(㓸 1 ᱌ 941)⹗䉂ੱ⍮䉌䈝
P170䇼ຟᗵ䇽[ᖗ䉍]yo-no-naka no uki mo tsuraki mo tsuge-na-ku-ni mazu shiru mono wa namida nari-keri
䃨173䃨䈍䉅䈵䉒䈶䈘䈩䉅䈇䈱䈤䈲䈅䉎䉅䈱䉕㩷 䈉䈐䈮䈢䈻䈯䈲䈭䉂䈣䈭䉍䈔䉍(㓸 7 ᱌ 818)㆏࿃䋨⮮ේᢕ㗬䋩
P171䇼ຟᗵ䇽[ᖗ䉍]omoi-wabi sate-mo inochi wa aru mono-wo uki ni tae-nu wa namida nari-keri
䃂174䃂䈫䉁䉍䉓䈩䉁䈧䈼䈐䉂䈖䈠䈍䈇䈮䈔䉏㩷 䈅䈲䉏䉒䈎䉏䈲䈵䈫䈱䈢䉄䈎䈲(㓸 5 ᱌ 344)⩲ේ⾗ᔘ
P172䇼ຟᗵ䇽[೎㔌]tomari-i-te matsu-beki mi koso oi-ni-kere aware wakare wa hito no tame kawa
䃂175䃂䈖䉏䉇䈖䈱䉉䈒䉅䈎䈻䉎䉅䉒䈎䉏䈧䈧㩷 䈚䉎䉅䈚䉌䈯䉅䈅䈸䈘䈎䈱䈞䈐(㓸 2 ᱌ 1090)ⱻਣ
P172䇼ຟᗵ䇽[೎㔌]kore-ya-ko-no yuku mo kaeru mo wakare-tsutsu shiru mo shira-nu mo Ausaka-no-seki
䃂176䃂䈢䈤䉒䈎䉏䈇䈭䈳䈱䉇䉁䈱䉂䈰䈮䈍䈸䉎㩷 䉁䈧䈫䈚䈐䈎䈳䈇䉁䈎䈻䉍䈖䉃(㓸 1 ᱌ 365)࿷ේⴕᐔ
P173䇼ຟᗵ䇽[೎㔌]tachi-wakare Inaba no yama no mine ni ouru matsu to-shi kika-ba ima kaeri-ko-mu
䃂177䃂䉒䈢䈱䈲䉌䉇䈠䈚䉁䈎䈔䈩䈖䈑䈇䈪䈯䈫㩷 䈵䈫䈮䈲䈧䈕䉋䈅䉁䈱䈧䉍䈹䈰(㓸 1 ᱌ 407)ዊ㊁▶
P174䇼ຟᗵ䇽[೎㔌]wata-no-hara yaso-shima kake-te kogi-ide-nu to hito ni-wa tsugeyo ama no tsuri-bune
䃂178䃂䈎䉌䈖䉐䉅䈐䈧䈧䈭䉏䈮䈚䈧䉁䈚䈅䉏䈳㩷 䈲䉎䈳䉎䈐䈯䉎䈢䈶䉕䈚䈡䈍䉅䈸(㓸 1 ᱌ 410)࿷ේᬺᐔ
P175䇼ຟᗵ䇽[ᙬᣥ]kara-koromo ki-tsutsu nare-ni-shi tsuma shi are-ba harubaru ki-nuru tabi wo-shi-zo omou
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䇸䈅䈇䈉䈋䈍૞ᢥ䇹䈱ῳ␲䇸᛬䉍ฏ䇹᱌䇷
䃂179䃂䈅䉁䈱䈲䉌䈸䉍䈘䈔䉂䉏䈳䈎䈜䈏䈭䉎㩷 䉂䈎䈘䈱䉇䉁䈮䈇䈪䈚䈧䈐䈎䉅(㓸 1 ᱌ 406)቟ㇱખ㤚
P176䇼ຟᗵ䇽[ᙬᣥ]ama-no-hara furi-sake-mire-ba Kasuga naru Mikasa no yama ni ide-shi tsuki kamo
䃂180䃂䈖䈱䉋䈮䈲䈜䉃䈼䈐䈾䈬䉇䈧䈐䈯䉌䉃㩷 䉋䈱䈧䈰䈭䉌䈝䉅䈱䈱䈎䈭䈚䈐(㓸 7 ᱌ 1094)⮮ේ㆏ା
P177䇼ຟᗵ䇽[ᘣགྷ]ko-no-yo ni-wa sumu-beki hodo ya tsuki-nu-ramu yo-no-tsune-nara-zu mono no kanashiki
䃂181䃂䉋䉕䈜䈩䈩䉇䉁䈮䈇䉎䈵䈫䉇䉁䈮䈩䉅㩷 䈭䈾䈉䈐䈫䈐䈲䈇䈨䈤䉉䈒䉌䉃(㓸 1 ᱌ 956)ಠᴡౝるᕡ
P178䇼ຟᗵ䇽[ḳᕷ]yo wo sute-te yama ni iru hito yama nite-mo nao uki toki wa izuchi yuku-ramu
䃂182䃂䉋䈱䈭䈎䉋䉂䈤䈖䈠䈭䈔䉏䈍䉅䈵䈇䉎㩷 䉇䉁䈱䈍䈒䈮䉅䈚䈎䈡䈭䈒䈭䉎(㓸 7 ᱌ 1151)⮮ේବᚑ
P178䇼ຟᗵ䇽[ḳᕷ]yo-no-naka yo michi koso nakere omoi-iru yama no oku ni-mo shika zo naku-naru
䃂183䃂䉋䉕䈠䉃䈒䈫䈖䉐䈫䈎䈐䈒䈍䈒䉇䉁䈲㩷 䉅䈱䈍䉅䈵䈮䈡䈇䉎䈼䈎䉍䈔䉎(㓸 8 ᱌ 1639)㆏๮
P179䇼ຟᗵ䇽[ᖗ䉍]yo wo somuku tokoro to-ka kiku oku-yama wa mono-omoi ni-zo iru-bekari-keru
䃂184䃂䈢䉌䈤䉄䈲䈎䈎䉏䈫䈩䈚䉅䉃䈳䈢䉁䈱㩷 䉒䈏䈒䉐䈎䉂䉕䈭䈪䈝䉇䈅䉍䈔䉃(㓸 2 ᱌ 1241)ㆉᤘ䋨⦟ጙቬ⽵䋩
P180䇼ຟᗵ䇽[ᙬᣥ]tarachime wa kakare tote-shimo mubatama-no wa-ga kuro-kami wo nade-zu ya ari-kemu
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶਄ઍ䈱䇸ᨉ⹖䇹䈱ᚑ䉏䈱ᨐ䈩䇷
䃂185䃂䈇䈫䈵䈩䉅䈭䈾䉕䈚䉁䉎䉎䉒䈏䉂䈎䈭㩷 䈸䈢䈢䈶䈒䈼䈐䈖䈱䉋䈭䉌䈰䈳(㓸 6 ᱌ 346)⮮ේቄㅢ
P181䇼ຟᗵ䇽[ᖗ䉍]itoi-te-mo nao oshima-ruru wa-ga mi kana futatabi ku-beki ko-no-yo nara-ne-ba
䃂186䃂䈫䈐䈚䉅䈅䉏䈅䈐䉇䈲䈵䈫䈱䉒䈎䉎䈼䈐㩷 䈅䉎䉕䉂䉎䈣䈮䈖䈵䈚䈐䉅䈱䉕(㓸 1 ᱌ 839)ჼ↢ᔘጙ
P182䇼ຟᗵ䇽[ᘣགྷ]toki-shimo-are aki yawa hito no wakaru-beki aru wo miru dani koishiki mono-wo
䃂187䃂䈵䈫䈱䉋䈱䈍䉅䈵䈮䈎䈭䈸䉅䈱䈭䉌䈳㩷 䉒䈏䉂䈲䈐䉂䈮䈍䈒䉏䉁䈚䉇䈲(㓸 2 ᱌ 1399)⮮ේ౗テ
P182䇼ຟᗵ䇽[ᘣགྷ]hito no yo no omoi ni kanau mono nara-ba wa-ga mi wa kimi ni okure-mashi-yawa
䃨188䃨䉂䈭䈵䈫䈱䉃䈎䈚䈏䈢䉍䈮䈭䉍䉉䈒䉕㩷 䈇䈧䉁䈪䉋䈠䈮䈐䈎䉃䈫䈜䉌䉃(㓸 6 ᱌ 359)ᷡᤘ
P183䇼ຟᗵ䇽[ᙬᣥ]mina-hito no mukashi-gatari ni nari-yuku wo itsu-made yoso-ni kika-mu-to-su-ramu
䃂189䃂䈢䉏䉕䈎䉅䈚䉎䈵䈫䈮䈞䉃䈢䈎䈘䈗䈱㩷 䉁䈧䉅䉃䈎䈚䈱䈫䉅䈭䉌䈭䈒䈮(㓸 1 ᱌ 909)⮮ේ⥝㘑
P184䇼ຟᗵ䇽[ᙬᣥ]tare wo-ka-mo shiru hito ni se-mu Takasago no matsu mo mukashi no tomo nara-na-ku-ni
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verse INDEX
⍴᱌⚝ᒁ
䃂190䃂䈜䈩䈲䈩䉃䈫䈍䉅䈸䈘䈻䈖䈠䈎䈭䈚䈔䉏㩷 䈐䉂䈮䈭䉏䈮䈚䉒䈏䉂䈫䈍䉅䈻䈳(㓸 4 ᱌ 574)๺ᴰᑼㇱ
P184䇼ຟᗵ䇽[ᙬᣥ]sute-hate-mu to omou sae-koso kanashikere kimi ni nare-ni-shi wa-ga mi to omoe-ba
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䇶䈾䈿↢り๺ᴰᝥ䈩り䈱⹞ዊ⺑䇷
䃨191䃨䈫䈬䉄䈍䈐䈩䈢䉏䉕䈅䈲䉏䈫䈍䉅䈸䉌䉃㩷 䈖䈲䉁䈘䉎䉌䉃䈖䈲䉁䈘䉍䈔䉍(㓸 4 ᱌ 568)๺ᴰᑼㇱ
P186䇼ຟᗵ䇽[ᖗ䉍]todome-oki-te tare wo aware to omou-ramu ko wa masaru-ramu ko wa masari-keri
䃂192䃂䈉䈢䈢䈰䈱䈖䈱䉋䈱䉉䉄䈱䈲䈎䈭䈐䈮㩷 䈘䉄䈯䉇䈏䈩䈱䈇䈱䈤䈫䉅䈏䈭(㓸 4 ᱌ 564)⮮ේታᣇ
P187䇼ຟᗵ䇽[ᘣགྷ]utata-ne no ko-no-yo no yume no hakanaki ni same-nu yagate-no inochi to-mogana
䋭ⷰᔨ䋺Finding Out䋭
䃂193䃂䈵䈫䈱䈍䉇䈱䈖䈖䉐䈲䉇䉂䈮䈅䉌䈰䈬䉅㩷 䈖䉕䈍䉅䈸䉂䈤䈮䉁䈬䈵䈯䉎䈎䈭(㓸 2 ᱌ 1103)⮮ේ౗テ
P188䇼ⷰᔨ䇽[ᖗ䉍]hito no oya no kokoro wa yami ni ara-ne-domo ko wo omou michi ni madoi-nuru kana
䃂194䃂䉋䉅䈜䈏䉌䉃䈎䈚䈱䈖䈫䉕䉂䈧䉎䈎䈭㩷 䈎䈢䉎䉇䈉䈧䈧䈅䉍䈚䉋䉇䉉䉄(㓸 8 ᱌ 824)ᄢᳯආⴧ
P189䇼ⷰᔨ䇽[ᙬᣥ]yo-mo-sugara mukashi no koto wo mi-tsuru kana kataru ya utsutsu ari-shi yo ya yume
䃨195䃨䉂䉎䈾䈬䈲䉉䉄䉅䉉䉄䈫䉅䈚䉌䉏䈰䈳㩷 䈉䈧䈧䉅䈇䉁䈲䈉䈧䈧䈫䈍䉅䈲䈛(㓸 7 ᱌ 1234)⮮ේ⾗㓉
P190䇼ⷰᔨ䇽[ᘣགྷ]miru hodo wa yume mo yume to-mo shira-re-ne-ba utsutsu mo ima-wa utsutsu to omowa-ji
䃂196䃂䉋䈱䈭䈎䉕䈭䈮䈮䈢䈫䈻䉃䈅䈘䈿䉌䈔㩷 䈖䈑䉉䈒䈸䈰䈱䈅䈫䈱䈚䉌䈭䉂(㓸 3 ᱌ 1327)ᴕᒎḩ⹿
P190䇼ⷰᔨ䇽[ᖗ䉍]yo-no-naka wo nani ni tatoe-mu asaborake kogi-yuku fune no ato no shira-nami
䃂197䃂䈜䉄䈳䉂䉉䈮䈗䉏䈳䈎䈒䉎䈘䈣䉄䈭䈐㩷 䈖䈱䉂䉇䉂䈨䈮䉇䈬䉎䈧䈐䈎䈕(㓸 7 ᱌ 1224)⮮ේ᳗▸
P191䇼ⷰᔨ䇽[ᖗ䉍]sume-ba miyu nigore-ba kakuru sadame-naki ko-no mi ya mizu ni yadoru tsuki-kage
䃂198䃂䈭䈏䉌䈻䈳䉁䈢䈖䈱䈗䉐䉇䈚䈱䈳䉏䉃㩷 䈉䈚䈫䉂䈚䉋䈡䈇䉁䈲䈖䈵䈚䈐(㓸 8 ᱌ 1843)⮮ේᷡテ
P192䇼ⷰᔨ䇽[ᖗ䉍]nagarae-ba mata ko-no-goro ya shinoba-re-mu ushi to mi-shi yo zo ima-wa koishiki
䃨199䃨䈉䈐䉁䉁䈮䈇䈫䈵䈚䉂䈖䈠䉕䈚䉁䉎䉏㩷 䈅䉏䈳䈡䉂䈧䉎䈅䈐䈱䉋䈱䈧䈐(㓸 4 ᱌ 263)⮮ේ㓉ᚑ
P192䇼ⷰᔨ䇽[ᖗ䉍]uki-mama-ni itoi-shi mi koso oshima-rure are-ba-zo mi-tsuru aki no yo no tsuki
䃨200䃨䈧䈒䈨䈒䈫䈍䉅䈻䈳䉇䈜䈐䉋䈱䈭䈎䉕㩷 䈖䈖䉐䈫䈭䈕䈒䉒䈏䉂䈭䉍䈔䉍(㓸 8 ᱌ 1774)⨹ᧁ↰㐳ᑧ
P194䇼ⷰᔨ䇽[ᖗ䉍]tsukuzukuto omoe-ba yasuki yo-no-naka wo kokoro-to nageku wa-ga mi nari-keri
䊶䊶䊶䇸ଥഥ⹖㵪ଥ䉍⚿䈶䇹㩷 ෸䈶㩷 䇸䉕㵪䉂䇹㩷 䈱⋧㑐᭴ㅧ䈮䈲ਅ✢䉕ᣉ䈚䈢
䈎䈔䈖䈫䈳
䉁䈒䉌䈖䈫䈳
䈛䉊䈖䈫䈳
䈋 䉖 䈗
䉍 䈗 䈉
䈍
䉍
䈒
䈾 䉖 䈎 䈬
䊶䊶䊶 ⹖䋯ᨉ⹖䋯ᐨ⹖䋯✼⺆䋯㔌ว䋯᛬䉍ฏ䋯ᧄ᱌ข䉍
╬䈱⍴᱌ୃㄉᴺ䈮䈲ᄥᢳሼ૕䋫ਅ✢䉕ᣉ䈚䈢
䇶৻䊶ੑ䊶ਃ䊶྾䊶੖㩷 ฦฏ䊕䊷䉳⚝ᒁ䇷 P195䌾P206
䇸౎ઍ㓸䇹᭎⺑䋺Rough sketch of the world of Hachidaishuu P207䌾215
䇸౎ઍ㓸䇹䈫ᧄᦠ䈱㑐ଥ䈮䈧䈇䈩䋺How this book relates to Hachidai shuu P216䌾221
verse INDEX
-14-
http//zubaraie.com
䈉
䈢
䈎
䈢
䋨౎ઍ㓸෩ㆬ䋩
䋺
ᣣᧄ䈱྾ቄ䈫ᔃ䈱⹞䈱ේဳ
㩷
䈤
㩷
䉋
㩷
䈢
䈇
㩷
䈎
㵪
䉃
㵪
䈇䈲䈾
䈖䈔
䈲䈭
䊶䊶䊶ජઍ↢䈞䈳Ꭿ 䈫ᚑ䉏䉍⧡䈱⪇㩷
䈚
䈵 䈱 䉅 䈫
⸒䈲䈪り䈮ṡ䉃ᣣ䊉ᧄ䈱᱌
㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪㵪
䋨/9500 Hachidai shuu TANKA䋩䋺
Poetic Molds of Japanese Seasons and Minds
㵪
Millennium Moss 㵪
...Gathering dust ever so long, still so strong in the Japanese psyche
authored by ਯੱ౬ᖗ䋨䈱䈫䊶䈛䉆䈉䈗䋺Jaugo Noto䋩
Beneath
Umbrella of
ZUBARAIE LLC.
http://zubaraie.com
㵪౻䌾ᤐ㵪
䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭
䋭౻䌾ᤐ䋺Winter䌾Spring䋭
䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭
䃂1䃂䉉䈐䈸䉏䈳䈐䈗䈫䈮䈲䈭䈡䈘䈐䈮䈔䉎㩷 䈇䈨䉏䉕䈉䉄䈫䉒䈐䈩䉕䉌䉁䈚
㔐㒠䉏䈳ᧁᲤ䈮⧎䈡ດ䈐䈮䈔䉎૗䉏䉕᪢䈫ಽ䈐䈩᛬䉌䉁䈚
䇼౻䇽[⻘ដ]䇺1)ฎ੹㓸:337䇻♿෹ೣ䋨䈐䈱䈫䉅䈱䉍䋩
㔐䈏㒠䈦䈢ᓟ䈣䈔䈮䇮ᧁ䇱䈱਄䈮䈲䈠䉏䈡䉏䈮⊕䈇㔐䈱⧎䈏ດ䈇䈩䈇䉎䊶䊶䊶
䈬䉏䈏⊕㔐䈪䈬䉏䈏⊕᪢䈎䇮䈬䈉䉇䈦䈩⷗ಽ䈔䈩᛬䉍ข䈦䈢䉌䉋䈇䉅䈱䉇䉌䇯
Snow has fallen covering trees in the garden.
Clusters of white here and there on the branch.
Which should I pick to cherish the flowers of plum?
䉉䈐䇼㔐䇽䈀ฬ䈁䋼㔐䌼(n.)snow䋾䋯䈸䉎䇼㒠䉎䇽䈀⥄䊤྾䈁䋼㒠䉎䌼(v.)fall䋾䋨䈸䉏䋽Ꮗὼᒻ䋩䋯䈳䇼䈳䇽䈀ធ
ഥ䈁䋼ℂ↱䌼(conj.)REASON䋾䋯䈐䇼ᧁ䇽䈀ฬ䈁䋼ᧁ䌼(n.)a tree䋾䋯䈗䈫䇼Ფ䇽䈀ធየ䈁䋼䈠䉏䈡䉏䈮䌼
(adv.)each䋾䋯䈮䇼䈮䇽䈀ᩰഥ䈁䋼႐ᚲ䌼(prep.)PLACE䋾䋯䈲䈭䇼⧎䇽䈀ฬ䈁䋼⧎䌼(n.)flowers䋾䋯䈡䇼䈡䇽
䈀ଥഥ䈁䋼ᒝ⺞䌼(adv.)EMPHASIS䋾䋯䈘䈒䇼ດ䈒䇽䈀⥄䉦྾䈁䋼ດ䈒䌼(v.)bloom䋾䋨䈘䈐䋽ㅪ↪ᒻ䋩䋯䈯
䇼䈯䇽䈀ഥേ䊅ᄌဳ䈁ቢੌ䋼䈜䈪䈮䌾[䈚]䈢䌼(aux-v.)PERFECT TENSE䋾䋨䈮䋽ㅪ↪ᒻ䋩䋯䈔䉍䇼䈔䉍䇽䈀ഥ
േ䊤ᄌဳ䈁ㆊ෰䋼䌾[䈚]䈢䌼(aux-v.)PAST䋾䋨䈔䉎䋽ㅪ૕ᒻଥ䉍⚿䈶䋩䋯䈇䈨䉏䇼૗䉏䇽䈀ઍฬ䈁䋼䈬䈤䉌䌼
(pron.)which䋾䋯䉕䇼䉕䇽䈀ᩰഥ䈁䋼⋡⊛ᩰ䌼(prep.)OBJECT䋾䋯䈉䉄 䇼᪢䇽 䈀ฬ䈁䋼᪢䌼(n.)Japanese
apricot䋾䋯䈫䇼䈫䇽䈀ᩰഥ䈁䋼⾗ᩰ䌼(prep.)as䋾䋯䉒䈒䇼ಽ䈒䇽䈀ઁ䉦྾䈁䋼ಽ೎䈜䉎䌼(v.)distinguish䋾䋨䉒䈐
䋽ㅪ↪ᒻ䋩䋯䈩䇼䈩䇽䈀ធഥ䈁䋼㗅ធ䌼(conj.)and䋾䋯䉕䉎䇼᛬䉎䇽䈀ઁ䊤྾䈁䋼᛬䉎䌼(v.)snap䋾䋨䉕䉌䋽ᧂὼ
ᒻ䋩䋯䉁䈚䇼䉁䈚䇽䈀ഥേ․ᱶဳ䈁ផ㊂䋼䌾䈚䉋䈉䈎䌼(aux-v.)I wonder䋾䋨䉁䈚䋽ㅪ૕ᒻଥ䉍⚿䈶䋩
[yuki fure-ba ki-goto-ni hana zo saki-ni-keru izure wo ume to waki-te ora-mashi]
㔐䉅⊕䇮᪢䉅⊕䇮⷗ಽ䈔䉅ઃ䈎䈯౻䈱ᐸ䈱ข䉍ว䉒䈞䊶䊶䊶䈠䉅䈠䉅䈖䈱⯯᭴⹞䈱ਛ䈪䈲ታ㓙᪢䈱⧎䈏
㩷
䉄
ດ䈇䈩䈇䉎䈱䈎䈬䈉䈎䈜䉌ਇ᣿䇯䉒䈎䈦䈩䈇䉎䈱䈲䇮䈠䈱䇸⊕䈇⧎䇹䉕ᗲ䈪䉎䈢䉄䈮䉒䈙䉒䈙㔐Ⓧ䉅䉎ᐸ䈮
㩷
㒠䉍┙䈧ᐔ቟⾆ᣖ䈭䈬ታ㓙䈮䈲䈠䈉ᄙ䈒䈲䈭䈎䈦䈢䈫䈇䈉䈖䈫 㵪 ᓐ䉌䈏᪢䉕⾨⟤䈜䉎ਥ䈭⥰บ䈲䇮⚕䈱਄
䈱⹞䈱ⓨᗐ਎⇇䇯
Snow is white, so is the flower of ᪢(ume䋽plum, or Japanese apricot) 㵪 indistinguishable pair in a
Winter garden. In fact, we don't even know if that ᪢(ume䋽plum) has really flourished in this fictional
poem. What we do know is that very few Heianese(ᐔ቟) nobles bothered to go out into a snow-covered
garden to cherish the white flower ȸ they mostly did so in imaginary poems on paper.
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶
䈎䉌䈉䈢
䈋䈇䈏
䈭 䈗
䉍 䈗 䈉
䇶䇸໊᱌䇹䈱ᩕ⪇䈱ฬᱷ䉍䇸㔌ว䇹᱌䇷
䇺䈵
䈵䈫䈗䈫䈮䈅䈭䈨䉎䈅䈞䈱䈧䈵䈱䈅䈎䋨 ੱᲤ䈮ଗ䉎๋ఱ䈱⚳䈱၁䋽⺕䈪䉅ᓐ䈪䉅䊋䉦䈮䈜䉎ำ䈱
㩷
䈗䈫
䉿䉟䉾䉺䊷䉝䉦䉡䊮䊃䈲ᶖ䈞䈭䈇ᳪὐ䊶䊶䊶ੱ䋫Ფ㸢ଗ䋩䇻䋨(C)ਯੱ౬ᖗ䋺䈱䈫䊶䈛䉆䈉䈗 2016䋩䈱䉋䈉䈮ㇱ㚂Ფ
䉉䈉䈑
䈮䊋䊤䊋䊤䈮䈚䈢ṽሼ䉕᱌䈱ਛ䈮䉁䈹䈚䈩ㆆ䈹⍮⊛ᢥሼㆆᚨ䈱䇸㔌ว䇹䈲䇮䇸䈠䈉䈵䉌䈎䈭䈎䈐䈢䈒䈩䉖䈯䈐
䈠䈉䈵䉌䈏䈭 䈏
䈣䈒䈩䉖 䈯
䉇䉁䈫䈉䈢
䋨✚ᐔ઒ฬᦠ䈐Ộὐᛮ䈐䋩䇹䈏ၮᧄ䈱䇸ᄢ๺᱌䋽๺᱌䇹䉋䉍䉃䈚䉐䇸໊᱌䋽ṽ⹞ᢥ䇹䈱ᓧᗧᛛ䈭䈱䈪䇮⚂䋹䋵䋰䋰
䈐䈔䈇
㚂䈱౎ઍ㓸ో૕䈪䉅ᜰ᛬䉍ᢙ䈋䉎䈾䈬䈚䈎⷗䉌䉏䈭䈇䇯䈤䈭䉂䈮䇮ห䈛㖸䈱䇸䈅䈞䇹䉕䇸๋ఱ䋽⾆ఱ䊶ำ䇹䋧
䇸᳨䇹䈮䇮䇸䈧䈵䈱䈅䈎䇹䉕䇸⚳䈱၁䋽ᶖ䈋䈭䈇ᳪὐ䇹䋧䇸䉿䉟[䉾䉺䊷]䈱䉝䉦[䉡䊮䊃]䇹䈮⺒䉂ᦧ䈋䉎䇸ห㖸⇣⟵
䈎䈔䈖䈫䈳
⺆䈱䈜䉍ᦧ䈋⧓䇹䈲䇮䇸 ⹖䇹䈫๭䈳䉏䉎䇯䈘䉌䈮䈠䈱䇸᳨䇹䈎䉌䇸䈅䈭[䈇]䈨䉎䋽Ძⓣ䉋䉍಴䉎䇹䋧䇸၁䋽ᳪ䉏
䈋䉖䈗
䈢᳨䉦䉴䇹䈻䈫䋨ᧄ᧪䈱⣂⛊䈮䈲ή㑐ଥ䈱⺆⟵䈧䈭䈏䉍䈪䋩㑐ㅪઃ䈔䉎䇸䈎䈒䉏䉖䈿ㅪᗐ䉭䊷䊛䇹䈲䇮䇸✼⺆䇹
䈫๭䈳䉏䉎䇯
㵪Winter䌾Spring㵪
-16-
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㵪౻䌾ᤐ㵪
䇶㔌ว(rigou䋽Chinese character mutilation) 㵪
remnant of the past glory of ໊᱌(Kara-uta䋽Chinese rhymes)䇷
As in 䇺䈵
䈵䈫䈗䈫䈮䈅䈭䈨䉎䈅䈞䈱䈧䈵䈱䈅䈎(hito-goto ni anazuru ase no tsui no aka䋺ੱᲤ䈮ଗ䉎๋ఱ䈱
⚳䈱၁䋽Each person you despise as eternal specks of your Twitter account䊶䊶䊶ੱ䋫Ფ㸢ଗ䋩)䇻((C)ਯੱ
౬ᖗ䋺 Jaugo Noto, 2016), a single ṽሼ(kanji = Chinese character) broken into several forming
components will make an intellectual wordplay called 㔌ว(rigou), favored in the world of ໊᱌
(Kara-uta䋽Chinese rhymes) but not quite fit for ᄢ๺᱌(Yamato-uta䋽๺᱌䋺waka䋽Japanese
rhymes), which were basically written in 䈵䉌䈏䈭(hira-gana) with any voiced-consonant marks
dropped (✚ᐔ઒ฬᦠ䈐Ộὐᛮ䈐䋽䈠䈉䈵䉌䈏䈭䈏
䈏䈐䈣
䈣䈒䈩䉖䈯䈐䋾䈠䈉䈵䉌䈎
䈎䈭䈎䈐䈢
䈢䈒䈩䉖䈯䈐). Only
a handful examples of 㔌ว(rigou) are to be found in the whole ౎ઍ㓸(Hachidai-shuu䋽8 great
Imperial TANKA anthologies) amounting to some 9,500 rhymes. In case you wonder, homonymous
puns like ๋ఱ(ase䋽fellow, chap) and ᳨(ase䋽sweat, perspiration) from the same sound 䈅䈞(ase),
and ⚳䈱၁(tsui no aka䋽stigma of a lifetime) and 䉿䉟[䉾䉺䊷]䈱䉝䉦[䉡䊮䊃](a Twitter account) from
the same sound 䈧䈵䈱䈅䈎(tsui no aka) are called ⹖(kake-kotoba䋽puns). If you find a hidden
semantic link between an apparently irrelevant pair of words 㵪 from ᳨(ase䋽sweat) to 䈅䈭[䈇]䈨䉎
(ⓣ಴䈨䉎䋺ana[i]zuru䋽exude from pores) or ၁(aka䋽scurf, grime) 㵪 such associated words (᳨䋧ⓣ
಴䉎䋯᳨䋧၁) lurking behind relevant context are called ✼⺆(engo).
䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭
䃂2䃂䉕䉌䉏䈔䉍䈒䉏䈭䉓䈮䈾䈸䈉䉄䈱䈲䈭㩷 䈔䈘䈚䉐䈢䈻䈮䉉䈐䈲䈸䉏䉏䈬
᛬䉌䉏䈔䉍⚃൬䈸᪢䈱⧎੹ᦺ⊕ᅱ䈮㔐䈲㒠䉏䉏䈬
䇼౻䇽[⻘ដ]䇺8)ᣂฎ੹㓸:41䇻⮮ේ㗬ㅢ䋨䈸䈛䉒䉌䈱䉋䉍䉂䈤䋩
䈉䈝
⌀䈦⊕䈇㔐䈏ᨑ䈱਄䈮㒠䉍Ⓧ䉅䉏䈳䇮ห䈛⦡䈚䈢᪢䈱⧎䈲ၒ䉅䉏䈩䇮᛬䉍ข䉎䈖䈫䉅䈪䈐䈭䈒䈭䉎䊶䊶䊶
䈎䈍
䈮䈍
䈫䈇䈉ฎ᱌䈱ᔃ䈮෻䈜䉎䉋䈉䈮䇮䈅䈦䈘䉍᛬䉌䉏䈩䈚䉁䈦䈢䈭䈄 㵪 ⦡䈖䈠ห䈛⊕䈘䈪䉅䇮⮍䉎൬䈇䈲⚃䈱䇮
䉁䈗
䈉
䈎
⚗䈉䈎䈢ή䈐䈖䈱ሽ࿷ᗵ 㵪 ᪢䈲㚅䉍䈪⡞䈐ಽ䈔䉎⧎䇯㔐䈮ၒ䉅䉏䈬䇮㚅䈲㓝䉏䈝䇯
Morning snow fell as white guise on Japanese apricot.
Despite visual confusion, the flowers got picked, though.
Their scent presented themselves as red proof through white veil.
䉕䉎䇼᛬䉎䇽䈀ઁ䊤྾䈁䋼᛬䉎䌼(v.)snap䋾䋨䉕䉌䋽ᧂὼᒻ䋩䋯䉎䇼䉎䇽䈀ഥേ䊤ਅੑဳ䈁ฃり䋼䌾[䈘]䉏䉎䌼
(aux-v.)PASSIVE VOICE䋾䋨䉏䋽ㅪ↪ᒻ䋩䋯䈔䉍䇼䈔䉍䇽䈀ഥേ䊤ᄌဳ䈁ㆊ෰䋼䌾[䈚]䈢䌼(aux-v.)PAST䋾
䋨䈔䉍䋽⚳ᱛᒻ䋩䋯䈒䉏䈭䉓䇼⚃䇽䈀ฬ䈁䋼⌀䈦⿒䌼(n.)red䋾䋯䈮䈾䈸䇼൬䈸䇽䈀⥄䊊྾䈁䈀ઁ䊊ਅੑ䈁䈀ઁ䊊྾䈁
䋼⋡䊶㥦䈮⸷䈋䉎䌼(v.)appeal to smell or vision䋾䋨䈮䈾䈸䋽ㅪ૕ᒻ䋩䋯䈉䉄䇼᪢䇽䈀ฬ䈁䋼᪢䌼(n.)Japanese
apricot䋾䋯䈱䇼䈱䇽䈀ᩰഥ䈁䋼䈱䌼(prep.)'s䋾䋯䈲䈭䇼⧎䇽䈀ฬ䈁䋼⧎䌼(n.)flowers䋾䋯䈔䈘䇼੹ᦺ䇽䈀ฬ䈁䋼੹
ᦺ䌼(n.)this morning䋾䋯䈚䉐䈢䈻䇼⊕ᅱ䇽䈀ฬ䈁䋼⚐⊕䌼(n.)pure white䋾䋯䈮䇼䈮䇽䈀ᩰഥ䈁䋼᭽ᘒ䌼
(prep.)like䋾䋯䉉䈐䇼㔐䇽䈀ฬ䈁䋼㔐䌼(n.)snow䋾䋯䈲䇼䈲䇽䈀ଥഥ䈁䋼ਥᩰ䌼(prep.)SUBJECT䋾䋯䈸䉎䇼㒠
䉎䇽䈀⥄䊤྾䈁䋼㒠䉎䌼(v.)fall䋾䋨䈸䉏䋽Ꮗὼᒻ䊶๮઎ᒻ䋩䋯䉍䇼䉍䇽䈀ഥേ䊤ᄌဳ䈁ሽ⛯䋼䌾[䈚]䈩䈇䉎䌼
(aux-v.)PERFECT TENSE䋾䋨䉏䋽Ꮗὼᒻ䋩䋯䈬䇼䈬䇽䈀ធഥ䈁䋼䌾䈣䈔䉏䈬䉅䌼(conj.)although䋾
[ora-re-keri kurenai niou ume-no-hana kesa shirotae-ni yuki wa fure-re-do]
䈻䉖䈎
䈐䉈䈉
৻䈧೨䈱᱌䈻䈱ਃ⊖ᐕᓟ䈱㄰᱌䇮䈠䉏䉅䈫䈶䈐䉍㊁ᔃ⊛䈭䉇䈧䊶䊶䊶䈣䈔䈬䇮䇸൬
൬䈸䇹䈏༦ⷡ䈮䉅ⷞⷡ䈮䉅⸃
䈧䈎
䈲
㉼䈘䉏ᓧ䉎⺆䈭䈣䈔䈮䇮ឞ䉂ᚲ䈱䈭䈇⹞䈪䉅䈅䉎䇯䉅䈚䇸൬
൬䈸䋽⦡㞲䉇䈎䈮ᤋ䈋䉎䇹䈱ᗧ䈮ข䉏䈳䇮໧㗴䈱
䈖䈉䈳䈇
䉄䈇䉍䉊䈉
䈅䈦䈔
᪢䈲䇸⚃᪢䇹䈫䈚䈩๟࿐䈱䇸⊕㔐䇹䈫᣿⍎䈭ኻᾖ䉕ᚑ䈜䈎䉌䇮๐᳇䈭䈇䈾䈬◲න䈮᛬䉍ข䉏䉎䈔䈬䇮䈠䈉䈭䉎䈫
䈍䉅䈚䉐䉂
䈐䈳䈧
䈖䈱⹞䈱㕙⊕๧䈲ᄬ䉒䉏䉎䇯৻ᣇ䇮䇸⚃
⚃൬䈸䋽⿒䈒㚅䉎䇹䈱ᗧ๧䈣䈫䈜䉏䈳䇮䈎䈭䉍ᄸᛮ䈭⸒䈇࿁䈚䈭䈏䉌䇮
http//zubaraie.com
-17-
㵪Winter䌾Spring㵪
㵪౻䌾ᤐ㵪
䇸⋡䈮䈲⷗䈋䈭䈇᪢䈱⧎䈱䇮㥦䉕⓭䈒ሽ࿷ᗵ䇹䈱⴫⃻䈫䈚䈩䈲䇮㕙⊕䈇䇯䇸᪢䇹䈲⥇䈇䉅๧ⷡ䉅⏕䈎䈮䇸⿒䇹䈦
䈛䉈䈉䈢䉖
䈢䈣䉋
䉀䈇䈱䈪䇮䉅䈚䈠䈱䇸⿒䉂䈏䈎䈦䈢᪢䈱㚅䇹䈏䇸⊕䈇᪢䈱⧎䇹䈎䉌䇮䈚䈎䉅䇸⊕㔐䈱⛐Ჴ䈱ਅ䇹䈎䉌 ṫ 䈦䈩᧪
䈖
䈛
䈖䈉䈳䈇
䉂䉒䈒
䈩⥄䉌䈱ሽ࿷䉕⹶␜䈚䈩䈇䉎䈫䈚䈢䉌䇮䇸⚃᪢⸃㉼䇹䉋䉍䈝䈦䈫㝯ᖺ⊛䈭⹞䈮䈭䉎䊶䊶䊶⦡䋯㚅䈱䈬䈤䉌䉕ข䈦䈩
䉁 䈛 䉄
䈳䈇䈎
䈉
䉅䉋䈇䈔䉏䈬䇮䈬䈦䈤䈮ข䉎䈮䈞䉋䇮䈖䈱႐㕙䇮䈅䉁䉍⌀㕙⋡䈮ข䉌䈭䈇䈾䈉䈏䈇䈇㵪 ᪢⧎䈏㔐䈮ၒ䉅䉏䈢
䉌䇮䈬䉖䈭䈮⌀䈦⿒䈮ດ䈖䈉䋯⥇䈍䈉䈫䉅䇮⃻ታ䈮䈲䉁䈝䉅䈦䈩⼂೎ਇ⢻䈭䈱䈣䈎䉌䊶䊶䊶㔐䈮ၒ䉅䉏䈢᪢䈲䇮
䈠䈉䈇䈉䈤䉊䈦䈷䉍ຟ䈚䈇⧎䇯ດ䈒䈱䈏ዋ䇱ᣧ䈜䈑䈩䇮᥉ㅢ䈱ੱ䇱䈮䈲␸䈦䈩䉅䉌䈋䈭䈇䈎䉌䇮䈞䉄䈩䉅䈱
㩷
䈫
䈜
ᢇ䈇䈮䇮᥉ㅢ䈛䉆䈭䈇䈒䉌䈇⎇䈑Ẵ䉁䈘䉏䈢ᗐ௝ജ䈱ᜬ䈤ਥ䈱ᐔ቟᱌ੱ䈢䈤䈏䇮䈠䈱㍈ᢅ䈭ⓨᗐ⊛༦ⷡ䉕
⊒ើ䈚䈩䇮㔐䈱ਛ䈎䉌ជ䉍಴䈚䈩䈅䈕䈩䉎䉒䈔䈪䈜䇯
A 300-year-later answer song to the previous TANKA, and that quite an ambitious yet ambiguous one,
due to the equivocal nature of the term 䈮䈾䈸(niou) possibly referring both to smell and color: if it
does to color, the Japanese apricot flourishes in red, in conspicuous contrast to the white surrounding
snow, making it all too easy for us to pick it up, rendering this poem rather flat. If, on the other hand,
the expression 䈒䉏䈭䉓䈮䈾䈸(kurenai niou) means "smelling red", that's quite an unusual but
amusing representation of the pungent presence of an invisible plum. The scent/taste of Japanese
apricot is definitely RED: if that reddish smell springs from white plum flowers to assert their presence
through the white carpet of snow, it will make a far more fascinating poem than the scarlet-colored
version. Color or smell, whichever you can take: whichever you take, however, you'll be well-advised
not to take the scene too seriously ȸ you can hardly discern Japanese apricots buried in snow, however
scarlet they may be tinged or smell. A snow-buried plum is such a sad flower, a little too premature to
be popularly cherished by ordinary people: only extraordinary imagination of Heianese poets can
salvage it with their acute sense of fictional smell.
䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭
䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭
㵪ᤐ䋺Spring㵪
䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭
䃂3䃂䉕䉍䈧䉏䈳䈠䈪䈖䈠䈮䈾䈻䈉䉄䈱䈲䈭㩷 䈅䉍䈫䉇䈖䈖䈮䈉䈓䈵䈜䈱䈭䈒
᛬䉍䈧䉏䈳ⴿ䈖䈠൬䈻᪢䈱⧎࿷䉍䈫䉇ᱝಣ䈮㡡䈱㡆䈒
䇼ᤐ䇽[େ⺽]䇺1)ฎ੹㓸:32䇻⹗䉂ੱ⍮䉌䈝
䈢 䈍
䉄
䈉䈧
䈏
ᄖ಴వ䈱᪢䈱⧎䉕ᚻ᛬䈦䈩ᗲ䈪䈩Ꮻቛ䈚䈢⑳䈱⌕‛䈱ⴿ䈮䇮੹䈭䈍ᱷ䉎⒖䉍㚅䈮⺃䉒䉏䈢䈱䈎䇮
䈳䈇䈎
䇸᪢⧎䈖䈖䈮䈅䉍䇹䈫䈳䈎䉍䇮ᚒ䈏ኅ䈱ᐸ䈮㢩䈏᧪䈩㡆䈇䈩䈇䉎䇯
The scent of Japanese apricot I cherished in my hands out there
Still fragrant on my sleeves back here in my residence.
Lured by the phantom presence of the distant flowers,
An oriole came to sing, wondering "Where is the ume?"
䉕䉎䇼᛬䉎䇽䈀ઁ䊤྾䈁䋼᛬䉎䌼(v.)snap䋾䋨䉕䉍䋽ㅪ↪ᒻ䋩䋯䈧䇼䈧䇽䈀ഥേ䉺ਅੑဳ䈁ቢੌ䋼䈜䈪䈮䌾䈚䈢䌼
(aux-v.)PERFECT TENSE䋾䋨䈧䉏䋽Ꮗὼᒻ䋩䋯䈳䇼䈳䇽䈀ធഥ䈁䋼ℂ↱䌼(conj.)REASON䋾䋯䈠䈪䇼ⴿ䇽
䈀ฬ䈁䋼ⴿ䌼(n.)the sleeve䋾䋯䈖䈠䇼䈖䈠䇽䈀ଥഥ䈁䋼ᒝ⺞䌼(adv.)EMPHASIS䋾䋯䈮䈾䈸䇼൬䈸䇽䈀⥄䊊྾䈁
䈀ઁ䊊ਅੑ䈁䈀ઁ䊊྾䈁䋼䈮䈍䈉䌼(v.)appeal to smell䋾䋨䈮䈾䈻䋽Ꮗὼᒻଥ䉍⚿䈶䋩䋯䈉䉄䇼᪢䇽䈀ฬ䈁䋼᪢䌼
(n.)Japanese apricot䋾䋯䈱䇼䈱䇽䈀ᩰഥ䈁䋼䈱䌼(prep.)'s䋾䋯䈲䈭䇼⧎䇽䈀ฬ䈁䋼⧎䌼(n.)flowers䋾䋯䈅䉍䇼䈅
䉍䇽䈀⥄䊤ᄌ䈁䋼ሽ࿷䈜䉎䌼(v.)exist䋾䋨䈅䉍䋽⚳ᱛᒻ䋩䋯䈫䇼䈫䇽䈀ᩰഥ䈁䋼ౝኈឭ␜䌼(conj.)that 䌾䋾䋯䉇
䇼䉇䇽䈀ଥഥ䈁䋼⇼໧䌼(adv.)INTERROGATIVE䋾䋯䈖䈖䇼ᱝಣ䇽䈀ઍฬ䈁䋼䈖䈖䌼(adv.)here䋾䋯䈮䇼䈮䇽䈀ᩰ
ഥ䈁䋼႐ᚲ䌼(prep.)PLACE䋾䋯䈉䈓䈵䈜䇼㢩䇽䈀ฬ䈁䋼䉡䉫䉟䉴䌼(n.)an oriole䋾䋯䈱䇼䈱䇽䈀ᩰഥ䈁䋼ਥᩰ䌼
㵪Winter䌾Spring㵪
-18-
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㵪ᤐ㵪
(prep.)SUBJECT䋾䋯䈭䈒䇼㡆䈒䇽䈀⥄䉦྾䈁䈀ઁ䉦ਅੑ䈁䋼㡆䈒䌼(v.)cry䋾䋨䈭䈒䋽ㅪ૕ᒻଥ䉍⚿䈶䋩
[ori-tsure-ba sode koso nioe ume-no-hana ari to-ya koko ni uguisu no naku]
䈲䈇䈎䈇
䇸᪢䈮㢩䇹䈍䉋䈶䇸᪢䈲䈠䈱ດ䈒ᆫ䉋䉍㚅䉍䉕⾨⟤䈜䈼䈐⧎䇹䈫䈇䈉䉟䊜䊷䉳䈱ᩮᒝ䈘䉉䈋䈮ᚑ䉍┙䈧䇸େ⺽䋽
䉲䊞䊧䇹䈱᱌䇯
A joking song 㵪 େ⺽(haikai) 㵪 only possible because of the established image of ᪢䈮㢩(ume ni
uguisu䋽an oriole likes to sing on a plum branch) and of Japanese apricots being cherished not so
much for the sight as for the scent.
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶
䈚
䈐
䇶䇸େ⺽䇹䉕େੱሶⷙ䈲ᘾ䉂䈔䉍䇷
䈎
䈛䉖䈺䉖
䈗䈫
䈫䈖䉐
䇺᪢䈏㚅䈲ੱ♮䈱ᅤ䈐㜞䈐㚅䈮䈅䉌䈰䈳䉇䉇㆙䈐ಣ 䈮䈅䉍䈩䈖䉏䉕⡞䈒䈮䈲․䈮㥦䈱␹⚻䉕㍈䈒䈞䈝䈳⡞
䈐䉈䈉
䉁
䈋䈝䇯䋨ਛ⇛䋩ర᧪ੱ䈱੖ቭ䈱ਛ䈮䈩ⷞቭ䈫༦ቭ䈫䉕Ყセ䈜䉏䈳ⷞቭ䈱ೝỗ䈞䉌䉎䉎੐ᄙ䈐䈲⺰䉕଼䈢䈝䇯
䉉䈋
᪢䉕⷗䈢䉎ᤨ䈮⦡䈫㚅䈫䈇䈨䉏䈏ᒝ䈒ೝỗ䈜䉎䈎䈫䈇䈻䈳⦡䈱ᣇᒝ䈐䈏Ᏹ䈭䉍䇯᡿䈮䇸᪢⊕䈚䇹䈫䈇䈻䈳䈠
䉏䉖䈠䈉
䈍䈖
䈍
䈫䈖䉐
䉏䉋䉍㚅䈱⡧ᗐᄙዋ⿠䉏䈬䉅䈢䈣䇸᪢䈎䉕䉎䇹䈫䈳䈎䉍䈮䈩䈲੹᪢䉕⷗䈩ዬ䉎ಣ 䈫ฃ䈔ข䉏䈝䈚䈩䈎䈻䈧䈩
䈎䈍䉍
䈇䈮䈚䈋
᪢䈱⧎䈲⷗䈋䈩ዬ䉌䈪 ⮍ 䈱䉂⡞䉉䉎႐ว䈭䉎䈼䈚䇯䈚䈎䉎䈮 ฎ 䉋䉍䈖䉏䉕ᷙห䈚䈢䉎᱌ᄙ䈐䈲᱌ੱ䈏ᗵ
䈿䈒䈛䉈䈉䈇䈦䈩䈐
䉁䈘䈍䈎 䈚
䈐
ᖱ䈱⸒䈵⃻䈲䈚ᣇ䈮ᵈᗧ䈞䈙䉎⟋䈭䉍䇯䇻䋨䇺ა᳝৻Ṣ䇻䉋䉍ᛮ☴䋩䊶䊶䊶ᱜጟሶⷙ䈲᣿䉌䈎䈮䉒䈎䈦䈩䈇䈭䈇
㵪 ᥦ䈎䈇ᤐ䈱㊁䈮಴䈩䉂䉖䈭䈮ᗲ䈘䉏䉎᪉䈱⧎䈫㆑䈇䇮ኙ䈘䈱ਛ䈪䋨䈚䈳䈚䈳㔐䈮ၒ䉅䉏䈭䈏䉌䋩ດ䈇䈩
䈍䈍䈎䈢
ⷞቭ䇹䈱ઍ䉒䉍䈮䇮
䉎䈖䈫䈘䈋⷗䈩䉅䉌䈋䈭䈇ຟ䈚䈇᪢䈱⧎䈱ᗲ䈚ᣇ䈫䈚䈩䇮ᄢᣇ䈱ੱ㑆䈏⊒ើ䈚䈩䈒䉏䈭䈇䇸ⷞ
⋡䈮⷗䈋䈝䈫䉅⊒ើ䈚ᓧ䉎䇸༦
༦ቭ䇹䉕ᄢᵴべ䈘䈞䉎䈖䈫䉕ᕁ䈇┙䈦䈢䇸䈇
䈇䈮䈚䈻䈱᱌䇹䈱⌀ᗧ䈏䇮ᓐ䈱䈍☻ᧃ
䈭䇸⹞⊛ⷞ
ⷞቭ䇹䈮䈲ᤋ䈦䈩䈇䈭䈇䈱䈣䊶䊶䊶ᱜጟሶⷙ䈱䈖䈱ᗱ䈎䈭䇸ᷙ
ᷙห䇹䈹䉍䈲䇮䇸౮ታ䈖䈠๮䋣䇹䈫ต䉖䈪䈅
䈾䈉䈛䉈䈉
䈋䈠䉌䈗䈫
䉍䈫䈅䉌䉉䉎䇸⹞⊛᡼❑䋨poetic license䋩䋽⚐ὼ䈢䉎⯯᭴਎⇇䈱ਛ䈣䈎䉌䈖䈠น⢻䈮䈭䉎⛗ⓨ੐䇹䈱૛࿾䉕ุ
䉁䈦䈘䈧
ቯ䈚䇮ⓨᗐ⊛⦡ᓀ䈱Ớ䈇ᐔ቟⺞⍴᱌䉕⾨⟤䈜䉎ᔃ䈱૛⵨䈠䈱䉅䈱䉕ᣣᧄਛ䈎䉌᛹Ვ䈚䈢䈅䈱↵䈱⟋ᷓ䈘
䈱⸽᜚ຠ䊶䊶䊶಴䈚ᛮ䈔䈮䇸໑৻⛘ኻ䈱␹⡛ᡰ㈩⠪䇹䈫䈚䈩䈱ᄤ⊞䈻䈱໧╵ή↪䈱᦯ᓥ䉕ᣣᧄੱ䈮ᒝᒁ䈮᛼
䈲䈇䈹䈧 䈐 䈚 䉆 䈒
䈚ઃ䈔䉋䈉䈫䈚䈢᣿ᴦᤨઍ䈱ᕆㅴ⊛ⓨ᳇䈫หᤨᱠ⺞䈪ᢿⴕ䈘䉏䈢䇸ᑄ੽Მ㉼䋽੽ᢎ䉕ุቯ䈚੽௝䉕⎕უ䈜
䈳䉖䈖䈉
㫍 㪸 㫅 㪻 㪸 㫃 㫀 㫊 㫄
䈢䈣䉋
䈚䉐䉅䈱
䉎ⱄⴕ䇹䉕ᕁ䉒䈞䉎⁛ༀឃઁ⊛⇣ᢥൻ⎕უㆇേ䋽䊯䉜䊮䉻䊥䉵䊛䈱ᖡ⥇䈏䊒䊮䊒䊮 ṫ 䈦䈩᧪䉎ઍ‛䈪䈅
䈙
䈗䈫
䉎䊶䊶䊶䈫หᤨ䈮䇮ᢥൻ䈱૗䈢䉎䈎䉕䉁䉎䈪⹺⼂䈪䈐䉅䈞䈯䈖䉖䈭ᗱ䈎⠪৻඘䈱ᚨ䉏⸒৻䈧䈪䇮䈇䈫䉅◲න䈮
䈍䉖䈤
ᢙ⊖ᐕ᧪䈱વ⛔⟤䉕ోุቯ䈚䈩ᐔὼ䈫䈚䈩䈇䉌䉏䉎᣿ᴦᦼએ㒠䈱ᣣᧄੱ䈱ᕟ䉎䈼䈐ᢥ⧓㖸∻䈹䉍䉕␜䈜䉅
䈇䈇䈣䈒䈣䈒
䈱䊶䊶䊶䈠䈚䈩䈘䉌䈮ᕟ䉐䈚䈇䈱䈲䇮䇸⹞⊛᡼❑䇹䉅⸵䈘䈯⁜㊂䈘䈫䇸ᮭᆭ⠪䈱᡼❑䇹䈮䈲໑䇱⻌䇱䈫䈚䈩ᓥ䈉ᓥ
䈅䉒
䈸 䈖 䈒 䈐䉊䈉䈻䈇
䈐䉊䈖䈒䈇䈦䈤
䈐 䈤 䈒 䈼䈇䈋䈇
㗅䈘䉕ᄸᅱ䈭ᒻ䈪૬䈞ᜬ䈦䈢ᣣᧄੱ䈏䇸ᢥ᣿㐿ൻ䋾ን࿖ᒝ౓䋾᜼࿖৻⥌䋾㝩⇓☨⧷ᛂୟ䇹䈻䈫䈭䈚፣䈚
䉉䈏
䈗䈫
⊛䈮ᵹ䉏䈩ⴕ䈦䈢㕖ੱ㑆⊛ో૕ਥ⟵࿖ኅ૕೙䈱ᱡ䉖䈣਎䈱ਛ䈮ᣈ䈇䈩䈲䇮ᱜጟሶⷙ䈱ᅤ䈐䇸⁅䈦䈢䈖䈫
䈬䈒䈣䉖䈞䉖䈖䈉
䈲䉇
䉕ᐔὼ䈫ᢿ⸒䈚䈩ઁ⠪䈮ᒝᒁ䈮᛼䈚ઃ䈔䉎⁛ᢿኾⴕ䈱ਥ䇹䈖䈠䈏ᜬ䈩ྭ䈘䉏䉎䈫䈇䈉䈠䈱੐ታ䊶䊶䊶ੑච৻
㩷
਎♿ೋ㗡䈱ᣣᧄ䈱ᆫ䈮ᾖ䉌䈚䈩䇮䈖䉏એ਄ᕟ䉎䈼䈐ᢎ⸠䈏䈅䉎䈣䉐䈉䈎䋿
䇶େ⺽(HAIKAI䋽amusing poems) hated by ᱜጟሶⷙ(Masaoka Shiki), a େฏ(haiku)-maker
of blunt 17 syllables, anything but a ⍴᱌(tanka)-creator of 31-letter fanciful world䇷
䇺The smell of Japanese apricots is not as obtrusive as human excrement, making it difficult to discern
for anyone but those with excessively acute sense of smell. (OMISSION) Thinking of the five human
senses, it is needless to say that vision is keener than smell. With Japanese apricots in sight, normal
human beings 䌳䌨ould feel more excited in the eyes than in the nose. The phrase "᪢(ume) being white"
may suggest the presence of the flowers' smell, but saying "᪢(ume) being fragrant" can never be
interpreted as seeing the flowers but only smelling their scent. In fact, too many poems from ancient
times are in the habit of confusing the two senses, all due to the poets' sinful inattention to the way they
express inner feelings.䇻(excerpt from ა᳝৻Ṣ䋺bokujuu itteki䋽a spot of India ink)... The author of the
above document ᱜጟሶⷙ(Masaoka Shiki) obviously didn't understand 㵪 unlike ᪉(sakura䋽
http//zubaraie.com
-19-
㵪Spring㵪
㵪ᤐ㵪
cherry flowers) popularly cherished by crowds of folks coming out in the warm Spring fields, ᪢(ume䋽
Japanese apricots) come out in Wintry cold, often buried in snow, barely attracting attention from most
folks; as a manner of loving this obscure plum, instead of mostly inoperative sense of "vision",
"poems from ancient times" thought it a good idea to appeal to the sense of "smell" that can
function where the flower is not in sight 㵪 which fact is totally invisible to ᱜጟሶⷙ's dull sense of
"poetic vision"... this foolish "confusion" of ᱜጟሶⷙ is the proof of his cardinal sin: he declared
"photorealistic depiction of things is the essence of art!", he denied any room for "poetic license 㵪
something impossible outside pure works of fiction", he purged the whole Japanese of a latitude for
appreciating highly imaginative Heianese poems 㵪 a stinking act of vandalism reminiscent of ᑄ੽
㩷
Მ㉼(haibutsu kishaku䋽denying Buddhism and destroying images of Buddha) going on in the radical
torrents of the Meiji(᣿ᴦ) era which attempted all too abruptly to impose upon the Japanese
undoubting obedience to "the Emperor as the sole divine ruler"... which also goes to show how terribly
ignorant the Japanese people have been of what art truly is: otherwise how could they have rest
satisfied with the total negation of their traditional beauty over centuries just because a single cultural
moron happened to deny their time-honored treasure? What is still more horrifying is this ȸ when the
eerie combination of the Japanese narrow-mindedness to "poetic license" and their unquestioning
obedience to "authoritative license" avalanched into an inhumanly totalitarian system of society leading
the Japanese into ᢥ᣿㐿ൻ(bunmei kaika䋽cultural revolution), thence to ን࿖ᒝ౓(fukoku kyouhei
䋽a richer nation with stronger armaments), through ᜼࿖৻⥌(kyokoku icchi䋽total devotion of all
individuals for the good of the nation) to 㝩⇓☨⧷ᛂୟ(kichiku beiei datou䋽fight and conquer the
British and American devils), such a morbid trend of a distorted society should desire and admire
someone like ᱜጟሶⷙ(Masaoka Shiki) who would assert something crazy with irresponsible
assurance and urge others to obey his own version of truth... this, I believe, is the most terrifying
lesson the Japanese folks in the early 21st century should learn from.
䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭
䃨4䃨䈵䈫䈲䈇䈘䈖䈖䉐䉅䈚䉌䈝䈸䉎䈘䈫䈲㩷 䈲䈭䈡䉃䈎䈚䈱䈎䈮䈮䈾䈵䈔䉎
ੱ䈲䈇䈘ᔃ䉅⍮䉌䈝ฎ㉿䈲⧎䈡ᤄ䈱㚅䈮൬䈵䈔䉎
䇼ᤐ䇽[ᙬᣥ]䇺1)ฎ੹㓸:42䇻♿⽾ਯ䋨䈐䈱䈧䉌䉉䈐䋩
䈭
ੱ䈱ᔃ䈲⒖䉐䈉䉅䈱䊶䊶䊶䈣䈎䉌䇮䈅䈭䈢䈱⢷䈱ౝ䈲䉒䈎䉍䉁䈞䉖䊶䊶䊶䈢䈣䇮㚔䉏ⷫ䈚䉖䈣䈖䈱࿾䈱⧎䈲䇮
੹䉅ᤄ䉅ᄌ䉒䉌䈯⦡䈫㚅䉍䈪ດ䈇䈩䈇䉁䈜䈰䇯
What color you wear deep down at your heart
Is not so clear as in old familiar days.
What's still clear to me in this old town
Is the scent of flowers as fragrant as ever.
䈵䈫䇼ੱ䇽䈀ฬ䈁䋼ੱ㑆䌼(n.)a human being䋾䋯䈲䇼䈲䇽䈀ଥഥ䈁䋼䌾䈮㑐䈚䈩䈲䌼(adv.)as for 䌾䋾䋯䈇䈘
䇼䈇䈘䇽䈀೽䈁䋼䈘䈩䈍䈐䌼(adv.)aside from䋾䋯䈖䈖䉐䇼ᔃ䇽䈀ฬ䈁䋼ᔃ䌼(n.)heart䋾䋯䉅䇼䉅䇽䈀ଥഥ䈁䋼ᗧ๧䈭
䈚䌼(adv.)NO MEANING䋾䋯䈚䉎䇼⍮䉎䇽䈀ઁ䊤྾䈁䋼⍮䉎䌼(v.)know䋾䋨䈚䉌䋽ᧂὼᒻ䋩䋯䈝䇼䈝䇽䈀ഥേ․
ᱶဳ䈁ᛂᶖ䋼䌾[䈚]䈭䈇䌼(adv.)not 䌾䋾䋨䈝䋽⚳ᱛᒻ䋩䋯䈸䉎䈘䈫䇼ฎ㉿䇽䈀ฬ䈁䋼ᤄ㚔ᨴ䉂䈱႐ᚲ䌼
(n.)an old familiar place䋾䋯䈲䇼䈲䇽䈀ଥഥ䈁䋼䌾䈮㑐䈚䈩䈲䌼(adv.)as for 䌾䋾䋯䈲䈭䇼⧎䇽䈀ฬ䈁䋼⧎䌼
(n.)flowers䋾䋯䈡䇼䈡䇽䈀ଥഥ䈁䋼ᒝ⺞䌼(adv.)EMPHASIS䋾䋯䉃䈎䈚䇼ᤄ䇽䈀ฬ䈁䋼ᤄ䌼(n.)the past䋾䋯
䈱䇼䈱䇽䈀ᩰഥ䈁䋼䈱䌼(prep.)'s䋾䋯䈎䇼㚅䇽䈀ฬ䈁䋼㚅䉍䌼(n.)the scent䋾䋯䈮䇼䈮䇽䈀ᩰഥ䈁䋼᭽ᘒ䌼
㵪Spring㵪
-20-
http//zubaraie.com
㵪ᤐ㵪
(prep.)like䋾䋯䈮䈾䈸䇼൬䈸䇽䈀⥄䊊྾䈁䋼䈮䈍䈉䌼(v.)appeal to smell䋾䋨䈮䈾䈵䋽ㅪ↪ᒻ䋩䋯䈔䉍䇼䈔䉍䇽
䈀ഥേ䊤ᄌဳ䈁⹗གྷ䋼䌾䈣䈦䈢䈱䈣䈭䈄䌼(interj.)REALIZATION䋾䋨䈔䉎䋽ㅪ૕ᒻଥ䉍⚿䈶䋩
[hito wa isa kokoro mo shira-zu furusato wa hana zo mukashi no ka ni nioi-keru]
䈸䈛䈧
䈉䈦䈢
䈖䈱᦭ฬ䈭᱌䈲䇮૞⠪䈱ਇታ䉕䈭䈛䈦䈢⺕䈎䈘䉖䈮ะ䈔䈩䈱䈚䈦䈽㄰䈚䈫䈚䈩⿅䉌䉏䈢䉅䈱䊶䊶䊶䇸 ⸷ 䈋䉌䉏
䈖䈉䈚䉆
䈢䉌ㅒ䈮⸷䈋㄰䈞䇹䈲⃻ઍ䉝䊜䊥䉦ੱ䈱䉂䈭䉌䈝ᐔ቟⾆ᣖ䈮䉅ㅢ䈛䉎ⴕേේℂ䈣䈦䈢䈱䈪䈜䋨ᓟ⠪䈲ⵙ್
䈟䉖䈚䉆
䈙
䈉䈢
䈚
䈐
䈪䇮೨⠪䈲ᚨ䉏᱌䈪䇮䈱㆑䈇䈲䈅䉎䈔䈬䋩䊶䊶䊶⧎䈱⒳㘃䈲᳇䈮䈞䈯䈖䈫䋨䉝䊅䉺䈏ᱜጟሶⷙ䉂䈢䈇䈭䇸౮ታ
䈢䈤䈳䈭
䈖䈠๮䋣䇹䈱ੱ䈪䉅䈭䈇㒢䉍䈲䇮䈰䋩 㵪 ᪢䈪䉅᪉䈪䉅 ᯌ 䈪䉅䇮䈬䉖䈭൬䈇䉇ດ䈐䈹䉍䈪䉅㑐ଥ䈭䈚䇯䈖䈱
䈸䉖䈇䈐
䉋 䈉 䈢 䈇
᱌䈱ᢥ⣂䈪ᄢ੐䈭䈖䈫䈲䇮䈞䉒䈚䈭䈒⒖䉍ᄌ䉒䉎ੱ㑆㑐ଥ䈱䊛䊷䊄䉇䊝䊷䊄䈮ᨴ䉁䉎䈖䈫䈭䈒䇮⧎䈲ᤄ䈭䈏䉌
䈱⧎䈱䉁䉁䇮䈫䈇䈉৻ὐ䈱䉂䇯
This famous poem was given to someone as a tit for tat, who accused the poet of faithlessness. When
accused, accuse back the accuser ȸ this is as true to Heianese nobles as to modern Americans, this in
lawsuits, that in humorous TANKA. Never mind the kind of flower (unless you are something of a ᱜጟ
ሶⷙ䋺Masaoka Shiki, a die-hard photorealism believer) 㵪 plum, cherry or mandarin orange 㵪 it's
not important how it smelled or flourished: what's important in this context is that it is exactly as it used
to be, unaffected by fleeting transition of moods or modes in human relationship.
䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭
䃂5䃂䈖䈤䈸䈎䈳䈮䈾䈵䈍䈖䈞䉋䈉䉄䈱䈲䈭㩷 䈅䉎䈛䈭䈚䈫䈩䈲䉎䉕䉒䈜䉎䈭
᧲㘑็䈎䈳൬䈵㆜䈞䉋᪢䈱⧎ਥή䈚䈫䈩ᤐ䉕ᔓ䉎䈭
䇼ᤐ䇽[ᡆੱ]䇺3)ᜪㆮ㓸:1006䇻⩲ේ㆏⌀䋨䈜䈏䉒䉌䈱䉂䈤䈙䈰䋩
䈭䈧
ᚒ䈏ኅ䈱᪢䉋䇮ᤐ䉕๔䈕䉎᧲㘑䈏็䈇䈢䈭䉌䇮䈠䈱㘑䈮ਸ਼䈞䈩䈍೨䈱ᙬ䈎䈚䈇㚅䉍䉕䇮
㆙䈒㔌䉏䈢⑳䈱䉅䈫䉁䈪ዯ䈔䈩䈍䈒䉏䇯䈢䈫䈋ਥੱ䈱⑳䈏䈇䈭䈒䈭䈦䈩䉅䇮ᤐ䉕ᔓ䉏䈩䈲䈇䈔䈭䈇䉋䇯
O, plum, when easterly wind blows, bring your scent along with it to me.
Even in a hostless house, never fail to greet Spring each year.
䈖䈤䇼᧲㘑䇽䈀ฬ䈁䋼᧲㘑䌼(n.)an easterly wind䋾䋯䈸䈒䇼็䈒䇽䈀⥄䉦྾䈁䋼็䈒䌼(v.)blow䋾䋨䈸䈎䋽ᧂὼ
ᒻ䋩䋯䈳䇼䈳䇽䈀ធഥ䈁䋼઒ቯ䌼(conj.)if䋾䋯䈮䈾䈵䇼൬䈵䇽䈀ฬ䈁䋼䈮䈍䈇䌼(n.)scent䋾䋯䈍䈖䈜䇼㆜䈜䇽䈀ઁ
䉰ਅੑ䈁䋼ㅍ䉎䌼(v.)bring䋾䋨䈍䈖䈞䉋䋽๮઎ᒻ䋩䋯䈉䉄䇼᪢䇽䈀ฬ䈁䋼᪢䌼(n.)Japanese apricot䋾䋯䈱䇼䈱䇽
䈀ᩰഥ䈁䋼䈱䌼(prep.)'s䋾䋯䈲䈭䇼⧎䇽䈀ฬ䈁䋼⧎䌼(n.)flowers䋾䋯䈅䉎䈛䇼ਥ䇽䈀ฬ䈁䋼ਥੱ䌼(n.)the host䋾
䋯䈭䈚䇼䈭䈚䇽䈀ᒻ䉪䈁䋼ሽ࿷䈚䈭䈇䌼(v.)do not exist䋾䋨䈭䈚䋽⚳ᱛᒻ䋩䋯䈫䈩䇼䈫䈩䇽䈀ᩰഥ䈁䋼䈢䈫䈋䌾䈪䉅
䌼(adv.)even if䋾䋯䈲䉎䇼ᤐ䇽䈀ฬ䈁䋼ᤐ䌼(n.)Spring䋾䋯䉕䇼䉕䇽䈀ᩰഥ䈁䋼⋡⊛ᩰ䌼(prep.)OBJECT䋾䋯
䉒䈜䉎䇼ᔓ䉎䇽䈀ઁ䊤ਅੑ䈁䋼ᔓ䉏䉎䌼(v.)forget䋾䋨䉒䈜䉎䋽⚳ᱛᒻ䋩䋯䈭䇼䈭䇽䈀⚳ഥ䈁䋼䌾䈜䉎䈭䌼
(adv.)don’t䋾
[kochi fuka-ba nioi okoseyo ume-no-hana aruji nashi tote haru wo wasuru-na]
䈣 䈙 䈇 䈸
䉎䈙䈇
૞⠪䈱⩲ේ㆏⌀䈲䇮᡽ᴦ⊛⻎⇛䈱‶†䈮䈭䈦䈩੩ㇺ䈎䉌ᣣᧄ䈱ධ┵䈱ᄥቿᐭ䈮ᵹ⟋䈮䈭䉍䉁䈚䈢䈏䇮䈖䈱
䉋
᱌䈲ᣥቛ䉕㔌䉏䉎㓙䈮⹗䉁䉏䈢䉅䈱䈫⸒䉒䉏䈩䈇䉁䈜䇯᪢䈮ะ䈎䈦䈩䇸ਥੱ䈱⑳䈏䈇䈭䈒䈫䉅ᤐ䉕ᔓ䉏䈩
䈲䈇䈔䈭䈇䉋䇹䈫⸒䈇䈭䈏䉌䇮㆏⌀䈲⥄ಽ⥄り䈮ะ䈎䈦䈩䇸⑳䈲ᔅ䈝Ꮻ䈦䈩᧪䉎䋣䇹䈫ต䉖䈪䈇䈢䈱䈎䉅
㩷
䈎䈭
䈚䉏䉁䈞䉖䋨䊶䊶䊶ᱷᔨ䈭䈏䉌䇮䈠䈱㗿䈇䈲ฟ䉒䈝䈛䉁䈇䈪䈚䈢䈏䋩
The author, ⩲ේ㆏⌀(Sugawara-no-Michizane), got banished from ੩ㇺ(Kyoto) to ᄥቿᐭ(Dazaifu)
at the southern end of Japan as a victim of a political plot. This poem is said to have been made on
departure from his old home. By calling on to plum ਥή䈚䈫䈩ᤐ䉕ᔓ䉎䈭(aruji nashi tote haru wo
wasuru-na䋽don't forget to greet Spring even though the host is not there), he seems to be declaring to
himself "I'll be back!"... sadly, he didn't.
䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭
http//zubaraie.com
-21-
㵪Spring㵪
㵪ᤐ㵪
䃂6䃂䈸䈐䈒䉏䈳䈎䉕䈭䈧䈎䈚䉂䉃䉄䈱䈲䈭㩷 䈤䉌䈘䈯䈾䈬䈱䈲䉎䈎䈟䉅䈏䈭
็䈐᧪䉏䈳㚅䉕ᙬ䈎䈚䉂᪢䈱⧎ᢔ䉌䈘䈯⒟䈱ᤐ㘑䉅䈏䈭
䇼ᤐ䇽[ᯏ⍮]䇺6)⹖⧎㓸:9䇻Ḯᤨ✁䋨䉂䈭䉅䈫䈱䈫䈐䈧䈭䋩
⋡䈮⷗䈋䉎ᚲ䈮䈲䈭䈒䈦䈩䉅䇮㘑䈏ㆇ䉖䈪᧪䉎㚅䉍䈣䈔䈪䉅ᔃᒁ䈎䉏䉎ᕁ䈇䈱᪢䈱⧎䊶䊶䊶
䈎䈭䈢
䈣䈎䉌䇮䈬䈉䈎䇮⧎䈶䉌䉕ᢔ䉌䈘䈯⒟ᐲ䈱ఝ䈚䈇ᤐ㘑䈏䇮ᓐᣇ䈱᪢䈮็䈐ઃ䈔䈩䈒䉏䉁䈜䉋䈉䈮䇯
Sightless perfume is enough to attract me,
Spring breeze, blow through distant apricots
Gently enough not to blow off their petals.
䈸䈐䈒䇼็䈐᧪䇽䈀⥄䉦ᄌ䈁䋼็䈇䈩᧪䉎䌼(v.)come blowing䋾䋨䈸䈐䈒䉏䋽Ꮗὼᒻ䋩䋯䈳䇼䈳䇽䈀ធഥ䈁䋼ℂ↱
䌼(conj.)REASON䋾䋯䈎䇼㚅䇽䈀ฬ䈁䋼㚅䉍䌼(n.)the scent䋾䋯䉕䇼䉕䇽䈀ᩰഥ䈁䋼ਥᩰ䌼(prep.)SUBJECT䋾
䋯䈭䈧䈎䈚䇼ᙬ䈎䈚䇽䈀ᒻ䉲䉪䈁䋼ᙬ䈎䈚䈇䌼(adj.)feel nostalgic䋾䋨䈭䈧䈎䈚䋽⺆ᐙ䋩䋯䉂䇼䉂䇽䈀ធየ䈁䋼ℂ
↱䌼(conj.)REASON䋾䋯䉃䉄䇼᪢䇽䈀ฬ䈁䋼᪢䌼(n.)Japanese apricot䋾䋯䈱䇼䈱䇽䈀ᩰഥ䈁䋼䈱䌼(prep.)'s
䋾䋯䈲䈭䇼⧎䇽䈀ฬ䈁䋼⧎䌼(n.)flowers䋾䋯䈤䉎䇼ᢔ䉎䇽䈀⥄䊤྾䈁䋼ᢔ䉎䌼(v.)fall䋾䋨䈤䉌䋽ᧂὼᒻ䋩䋯䈜
䇼䈜䇽䈀ഥേ䉰ਅੑဳ䈁૶ᓎ䋼䌾[䈘]䈞䉎䌼(aux-v.)CAUSATIVE䋾䋨䈘䋽ᧂὼᒻ䋩䋯䈝䇼䈝䇽䈀ഥേ․ᱶဳ䈁ᛂ
ᶖ䋼䌾[䈚]䈭䈇䌼(adv.)not 䌾䋾䋨䈯䋽ㅪ૕ᒻ䋩䋯䈾䈬䇼䈾䈬䇽䈀೽ഥ䈁䋼⒟ᐲ䌼(adv.)to 䌾 degree䋾䋯䈱
䇼䈱䇽䈀ᩰഥ䈁䋼䈱䌼(prep.)'s䋾䋯䈲䉎䈎䈟䇼ᤐ㘑䇽䈀ฬ䈁䋼ᤐ㘑䌼(n.)Spring wind䋾䋯䉅䈏䈭䇼䉅䈏䈭䇽䈀⚳
ഥ䈁䋼䌾䈏䈅䈦䈩䈾䈚䈇䈭䌼(adv.)hopefully䋾
[fuki-kure-ba ka wo natsukashi-mi mume-no-hana chirasa-nu hodo no haru-kaze mogana]
㆙䈒䈱᪢䈱㚅䉕ㆇ䉖䈪᧪䈩䈒䉏䉎ᤐ䈱䈠䉋㘑䉕༑䈶䈧䈧䉅䇮㘑䈮็䈎䉏䈩᪢䈱⧎䈏ᢔ䉍䈲䈚䉁䈇䈎䇮䈫૞⠪
䈎䈓䉒
䈅䈢䈢
䈲᳇䈮䈚䈩䈇䉁䈜䇯ᤐ䈱 㚅 䈚䈘䇮 ᷷ 䈎䈘䇮䈠䈚䈩ఝ䈚䈘䈮ḩ䈤䈢⹞䈪䈜䇯
While welcoming Spring breeze as a carrier of plum scent from the distance, the author cares for the
unseen flowers lest the wind should blow them off of the branch. A poem full of vernal fragrance,
warmth and gentleness.
䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭
䃨7䃨䈠䈪䈵䈥䈩䉃䈜䈶䈚䉂䈨䈱䈖䈾䉏䉎䉕㩷 䈲䉎䈢䈧䈔䈸䈱䈎䈟䉇䈫䈒䉌䉃
ⴿᴩ䈥䈩យ䈶䈚᳓䈱ಓ䉏䉎䉕ᤐ┙䈧੹ᣣ䈱㘑䉇⸃䈒䉌䉃
䇼ᤐ䇽[ቄ㗴]䇺1)ฎ੹㓸:2䇻♿⽾ਯ䋨䈐䈱䈧䉌䉉䈐䋩
䈜䈒
ᄐ䈱ᥤ䈇⋓䉍䈮ⴿ䉕Ứ䉌䈚䈩យ䈦䈩㘶䉖䈣䈅䈱ጊᎹ䈱᳓䊶䊶䊶㐳䈇౻䈱㑆䈲䈝䈦䈫
᳖䈮㐽䈙䈘䉏䈩䈇䈢䈣䉐䈉䈏䇮੹ᣣ䈲┙ᤐ䇮ᥦ䈎䈇᧲㘑䈮᳖䉅⸃䈔䈩䇮ౣ䈶ᵹ䉏಴䈚䈩䈇䉎䈣䉐䈉䈎䋿
The cool water in Summer that quenched my thirst and drenched my sleeves,
Long asleep in Winter locked up under icy cold,
Might today, the first day of Spring, have molten and woken by gentle vernal wind.
䈠䈪䇼ⴿ䇽䈀ฬ䈁䋼ⴿ䌼(n.)the sleeve䋾䋯䈵䈨䇼ẃ䈨䇽䈀⥄䉻྾䈁䈀⥄䉻਄ੑ䈁䋼[᳓䈮]ẃ䈔䉎䌼(v.)dip䋾䋨䈵
䈥䋽ㅪ↪ᒻ䋩䋯䈩䇼䈩䇽䈀ធഥ䈁䋼㗅ធ䌼(conj.)and䋾䋯䉃䈜䈹䇼យ䈹䇽䈀ઁ䊋྾䈁䋼ᚻ䈪䈜䈒䈇ข䉎䌼
(v.)scroop [with hands]䋾䋨䉃䈜䈶䋽ㅪ↪ᒻ䋩䋯䈐䇼䈐䇽䈀ഥേ․ᱶဳ䈁ㆊ෰䋼䌾[䈚]䈢䌼(aux-v.)PAST䋾
䋨䈚䋽ㅪ૕ᒻ䋩䋯䉂䈨䇼᳓䇽䈀ฬ䈁䋼᳓䌼(n.)water䋾䋯䈱䇼䈱䇽䈀ᩰഥ䈁䋼ਥᩰ䌼(prep.)SUBJECT䋾䋯䈖䈾䉎
䇼ಓ䉎䇽䈀⥄䊤྾䈁䋼ಓ䉎䌼(v.)freeze䋾䋨䈖䈾䉏䋽Ꮗὼᒻ䊶๮઎ᒻ䋩䋯䉍䇼䉍䇽䈀ഥേ䊤ᄌဳ䈁ሽ⛯䋼䌾[䈚]䈩䈇䉎
䌼(aux-v.)PERFECT TENSE䋾䋨䉎䋽ㅪ૕ᒻ䋩䋯䉕䇼䉕䇽䈀ᩰഥ䈁䋼⋡⊛ᩰ䌼(prep.)OBJECT䋾䋯䈲䉎䇼ᤐ䇽
䈀ฬ䈁䋼ᤐ䌼(n.)Spring䋾䋯䈢䈧䇼┙䈧䇽䈀⥄䉺྾䈁䋼ᆎ䉁䉎䌼(v.)start䋾䋨䈢䈧䋽ㅪ૕ᒻ䋩䋯䈔䈸䇼੹ᣣ䇽䈀ฬ䈁
㵪Spring㵪
-22-
http//zubaraie.com
㵪ᤐ㵪
䋼੹ᣣ䌼(n.)today䋾䋯䈱䇼䈱䇽䈀ᩰഥ䈁䋼䈱䌼(prep.)'s䋾䋯䈎䈟䇼㘑䇽䈀ฬ䈁䋼㘑䌼(n.)wind䋾䋯䉇䇼䉇䇽䈀ଥ
ഥ䈁䋼⇼໧䌼(adv.)INTERROGATIVE䋾䋯䈫䈒䇼⸃䈒䇽䈀⥄䉦ਅੑ䈁䋼ṁ䈎䈜䌼(v.)melt䋾䋨䈫䈒䋽⚳ᱛᒻ䋩䋯
䉌䉃䇼䉌䉃䇽䈀ഥേ䊤྾ဳ䈁⃻࿷ផ㊂䋼䌾䈣䉐䈉䌼(aux-v.)SUPPOSITION䋾䋨䉌䉃䋽ㅪ૕ᒻଥ䉍⚿䈶䋩
[sode hiji-te musubi-shi mizu no koore-ru wo haru-tatsu kyou no kaze ya toku-ramu]
䈫 䈉 䈸 䈉 䈎䈇䈫䈉
ฎ䈇ਛ࿖䈱᡿੐䇸᧲㘑⸃ಓ䋽ᣂᐕ䈱ೋᣣ䈮᧲㘑䈏᳖䉕⸃䈎䈚ᆎ䉄䉎䇹䉕⿷႐䈮䇮⹞ੱ䈲⥄䉌䈱⹞⊛ᗐ௝ജ
㩷
䉕㚟૶䈚䈩䇸ᥤ䈇ᄐ䇹䈎䉌䇸᳖䉏䉎౻䇹䉕⚻䈩䇸ᣂᤐ䈱ೋᣣ䇹䈻䈱ᤨ㑆ᣏⴕ䉕Ṷ䈛䈩䈇䉁䈜䇯⸒⪲ዋ䈭䈮ᄙ䈒䉕
⺆䉎⍴᱌䈱㝷ᴺ䉕⷗䉎䉋䈉䈭⹞䈪䈜䇯
Based on an old Chinese concept of ᧲㘑⸃ಓ(toufuu kaitou䋽easterly wind will melt ice on the very
first day of a new year), the poet travels in time through poetic imagination 㵪 from a hot Summer day
through icy Winter to the beginning of a new Spring. See how much is said with so few words in this
magical piece of poetry!
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶
䈵䈫䈧䈐
䈇䉁䈗䉋䉂
䇶䇸ᣥᥲ䇹䈮৻᦬⿷䈚䈩䇸੹ ᥲ䇹䇷
䈠䉏䉁䈪䇸ᄥ㒶ᥲ䇹䈣䈦䈢ᣣᧄ䈱ᥲ䈲᣿ᴦ⛽ᣂ䋨䋽䉄䈇䈛䇮䈖䉏䇮䈅䉌䈢䈭䉍䈦䋣䋩䈫౒䈮䇸ᄥ㓁ᥲ䇹䈮ᄌ䉒䉍䇮
㩷
䈹䉖䈹䈧
᣿ᴦ੖䋨1872䋩ᐕචੑ᦬ਃᣣ䈏᣿ᴦ౐䋨1873䋩ᐕ৻᦬৻ᣣ䈮䈭䈦䈢䈱䈪䇮㒶ᥲ䈮ၮ䈨䈒᣿ᴦએ೨䈱ᢥ‛䈱
ቄ▵ᗵ䉕⍮䉎䈮䈲䇸ᄥ㓁ᥲ䊙䉟䊅䉴䋱䊱᦬䇹䈱ᒁ䈐▚឵▚䈏ᔅⷐ䇯ੑ᦬ೋᣨ䈱⌀౻䈱ᭂ䉂䉕䇸┙ᤐ䇹䈫๭䈹
ਇᕁ⼏䉅䇮䋱䉦᦬ᒁ䈇䈩䇸1 ᦬ 1 ᣣ䇹䈮ᚯ䈞䈳䇮䇸䋼ᤐ䋾䈫䈇䈉䉋䉍䋼ᣂᐕ䋾䈱┙䈧ᣣ䇹䈫ੌ⸃䈪䈐䉎䈲䈝䇯
䇶seasons in TANKA based on ᣥᥲ(kyuu-reki䋽the lunar calender) 㵪
add 1 month to the old lunar calendar to get seasons right䇷
Traditional Japanese calendar until ᣿ᴦ⛽ᣂ(the Meiji Restoration) was the lunar calendar. The
beginning of Japanese solar calendar dates back to ᣿ᴦ 5 ᐕ 12 ᦬ 3 ᣣ on the lunar calendar
(=1872/12/3), which became the new solar ᣿ᴦ 6 ᐕ 1 ᦬ 1 ᣣ(1873/1/1) 㵪 in order to grasp the
seasonal feelings based on the lunar calendar in pre-Meiji years, "solar -1(one) month conversion" is
necessary for modern readers. You may wonder why ┙ᤐ(risshun䋽the first Spring day) should come
at the beginning of (solar) February, the depth of coldness in Japan ȸ just reduce a month to get the
date "1/1(January the first)", and you will realize it's not so much the beginning of "Spring" as the start
of "a new year".
䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭
䃨8䃨䈲䉎䈢䈧䈫䈇䈸䈳䈎䉍䈮䉇䉂䉋䈚䈱䈱㩷 䉇䉁䉅䈎䈜䉂䈩䈔䈘䈲䉂䉉䉌䉃
ᤐ┙䈧䈫⸒䈸䈳䈎䉍䈮䉇ᓮศ㊁䈱ጊ䉅㔰䉂䈩੹ᦺ䈲⷗䉉䉌䉃
䇼ᤐ䇽[⻘ដ]䇺3)ᜪㆮ㓸:1䇻ჼ↢ᔘጙ䋨䉂䈹䈱䈢䈣䉂䈰䋩
䈭 䈗
੹ᦺ䈱ศ㊁ጊ䈲䇮ᔃ䈭䈚䈎䇮⊕䈒㔰䉖䈪⷗䈋䉎䉋䈉䈣䊶䊶䊶䈅䈱㔰䈱ᱜ૕䈲䇮౻䈱ฬᱷ䉍䈱㔐䈣䉐䈉䈎䇮
䈉
䈠䉏䈫䉅ᤐ䈱ጊ⡼䉕ၒ䉄ዧ䈒䈜᪉䈣䉐䈉䈎䋿䊶䊶䊶䉅䈚䈎䈚䈢䉌䈬䈤䉌䈪䉅䈭䈒䈩䇮
䈢䈣䈱᳇䈱䈞䈇䈭䈱䈎䉅䈚䉏䈭䈇䈰䇮ᤨ䈏ᤨ䈣䈔䈮䊶䊶䊶䈅䉎䈇䈲䈬䈤䉌䈪䉅䈇䈇䈱䈎䉅䈚䉏䈭䈇䈰䇮
䈭
䈍
㩷
䈭䈮䈞ศ㊁䈲ฬ䈮䈚⽶䈉㔐䈫᪉䈱ฬᚲ䈭䈱䈣䈎䉌䊶䊶䊶䈇䈝䉏䈮䈞䉋䇮੹ᣣ䈲┙ᤐ䇮ኙ䈇ਛ䈮䉅ᤐ䈏┙䈧䈫
䉂䉁䈗
㩷
䈇䈉․೎䈭৻ᣣ䉉䈋䈱䇮ᤐ㔰䈮⷗⚗䈉㔐䈎᪉䈱⊕䈦䉀䈇૗䈎䊶䊶䊶᳇䈱ㅅ䈇䈮䈞䉋᳇䈏ᣧ䈇䈮䈞䉋䇮
㩷
䈟䈇䈢䈒
䈘䈦䈎䈒
䈬䈦䈤䈮ォ䉖䈪䉅⸵䈘䉏䉎䇮䈖䈱ቄ▵䈭䉌䈪䈲䈱⿃ᴛ䈭㍲ⷡ䈭䈱䈣䉐䈉䈰䇮䈐䈦䈫䇯
Spring is here, calendar tells me so.
Maybe that's why the white hazy veil 㵪
Snowy wintry remnant or vernal cherry carpet 㵪
Seems to wrap around the Holy Mt. Yoshino.
http//zubaraie.com
-23-
㵪Spring㵪
㵪ᤐ㵪
䈲䉎䇼ᤐ䇽䈀ฬ䈁䋼ᤐ䌼(n.)Spring䋾䋯䈢䈧䇼┙䈧䇽䈀⥄䉺྾䈁䋼ᆎ䉁䉎䌼(v.)start䋾䋨䈢䈧䋽ㅪ૕ᒻ䋩䋯䈫䇼䈫䇽
䈀ᩰഥ䈁䋼ౝኈឭ␜䌼(conj.)that 䌾䋾䋯䈇䈸䇼⸒䈸䇽䈀ઁ䊊྾䈁䋼⸒䈉䌼(v.)say䋾䋨䈇䈸䋽ㅪ૕ᒻ䋩䋯䈳䈎
䉍䇼䈳䈎䉍䇽䈀೽ഥ䈁䋼䌾[䈚]䈢䈳䈦䈎䉍䈮䌼(conj.)only because䋾䋯䈭䉍䇼䈭䉍䇽䈀ഥേ䊅䊥ဳ䈁ᢿቯ䋼䌾䈪䈅䉎
䌼(aux-v.)be䋾䋨䈮䋽ㅪ↪ᒻ䋩䋯䉇䇼䉇䇽䈀ଥഥ䈁䋼⇼໧䌼(adv.)INTERROGATIVE䋾䋯䉂䇼⟤䇽䈀ធ㗡䈁䋼
⟤䈚䈐䌼(adj.)beautiful䋾䋯䉋䈚䈱䇼ศ㊁䇽䈀ฬ䈁䋼[࿕᦭ฬ⹖]ศ㊁䌼(n.)Yoshino䋾䋯䈱䇼䈱䇽䈀ᩰഥ䈁䋼䈱䌼
(prep.)'s䋾䋯䉇䉁䇼ጊ䇽䈀ฬ䈁䋼ጊ䌼(n.)the mountain䋾䋯䉅䇼䉅䇽䈀ଥഥ䈁䋼䌾䉅䉁䈢䌼(adv.)also䋾䋯䈎䈜
䉃䇼㔰䉃䇽䈀⥄䊙྾䈁䋼㔰䉃䌼(v.)get hazy䋾䋨䈎䈜䉂䋽ㅪ↪ᒻ䋩䋯䈩䇼䈩䇽䈀ធഥ䈁䋼ౝኈឭ␜䌼(conj.)that
䌾䋾䋯䈔䈘䇼੹ᦺ䇽䈀ฬ䈁䋼੹ᦺ䌼(n.)this morning䋾䋯䈲䇼䈲䇽䈀ଥഥ䈁䋼䌾䈮㑐䈚䈩䈲䌼(adv.)as for 䌾䋾
䋯䉂䉉䇼⷗䉉䇽䈀⥄䊟ਅੑ䈁䋼⷗䈋䉎䌼(v.)appear䋾䋨䉂䉉䋽⚳ᱛᒻ䋩䋯䉌䉃䇼䉌䉃䇽䈀ഥേ䊤྾ဳ䈁⃻࿷ផ㊂
䋼䌾䈣䉐䈉䌼(aux-v.)SUPPOSITION䋾䋨䉌䉃䋽ㅪ૕ᒻଥ䉍⚿䈶䋩
[haru-tatsu to yuu bakari-ni-ya mi-Yoshino no yama mo kasumi-te kesa wa miyu-ramu]
䈖䈱᱌䈱૞⠪䈱ჼ↢ᔘጙ䈲䇮㑆㆑䈇䈭䈒䇮ᐔ቟⺞⍴᱌਎⇇䈱ਛ䈪䉅ᦨ਄⚖䈱ᛛᏁ䉕⹶䉎ੱ䊶䊶䊶䈭䈱䈪䇮ᓐ
䈚䈇䈎
ጊ䉅㔰䉂䈩੹ᦺ䈲⷗䉉䇹䈱⴫⃻䈲䉪䉶⠪䈭䈱䈪䉻䊙
䈱⹞᱌䈫ะ䈐ว䈉ᤨ䈲䇮ᦨᄢ㒢䈱⹞⊛ᵈᗧജ䈏ᔅⷐ䇯䇸ጊ
䈘䉏䈭䈇䉋䈉䈮 㵪 䈖䉏䇮ᐛ䈪䈜 㵪 䇸㔰
㔰䇹䈭䉖䈩ታ䈲ሽ࿷䈚䉁䈞䉖䋨䈠䈖䈮䈅䉎䈱䈲䇸㔐䇹䈣䈔䈪䈜䋩䊶䊶䊶䈬䈉
䈚䈩䈠䈉⸒䈇ಾ䉏䉎䈎䋿౨㗡ฏ䇸ᤐ
ᤐ┙䈧䈫⸒䈸䈳䈎䉍䈮䋨੹ᣣ䈏┙ᤐ䈱ᣣ䋺ᄥ㓁ᥲੑ᦬྾ᣣ䈣䈦䈢䈳䈦䈎䉍
䈮䋩䇹䉕䈗ⷩ䈅䉏䇯૞⠪䈲䇸ศ
ศ㊁䇹䈱ጊ䈱⊕䈇⦡䉕䇮䇸౻䈱㔐䇹䈪䈲䈭䈒䇸ᤐ䈱᪉䇹䈱䇸⊕䇹䈣䈫ᕁ䈦䈩䉎䋨䈫䈇䈉䉋
䉍䇮䈠䈉ᕁ䈇䈢䈏䈦䈩䈇䉎䋩䈱䈪䈜䊶䊶䊶᪉䈱㐿⧎䈮䈲ᣧ䈜䈑䉎ᤨ▵䈣䈦䈩䈖䈫䈲⊖䉅ᛚ⍮䈱਄䈪䊶䊶䊶䈣䈎䉌
㫍
㪼
㫀
㫃
䇸᪉䇹䈫䉅䇸㔐䇹䈫䉅⸒䉒䈝䈮䈢䈣䇸㔰
㔰䇹䈱⊕䈇䊯䉢䊷䊦䈮൮䉖䈪䊗䉦䈚䈧䈧䇮䈠䈱䇸⊕䈇㔰䇹䈱ᱜ૕䈏૗䈪䈅
䉉䈣
㔰䇹
䉎䈎䈲䇮⺒⠪䈱ᗐ௝䈮ᆔ䈰䈩䉎䉒䈔䈪䈜䊶䊶䊶䈿䊷䈦䈫⺒䉖䈪䉎䈣䈔䈱ੱ䈮䈲䇮᱌䈮ᦠ䈇䈩䈅䉎ㅢ䉍䈱䇸㔰
䈪䈚䉊䈉䋻⃻ታਥ⟵⠪䈏ᵈᗧᷓ䈒⺒䉄䈳䇮╵䈋䈲䇸㔐䇹એᄖ䈅䉍ᓧ䈭䈇䇮䈫⸒䈉䈪䈚䉊䈉䋻䇸ศ
ศ㊁䇹䈦䈩䈬䉖䈭႐ᚲ
䈇䈭䉌
䈘䈒䉌䈳䈭
䈎䇮䉋䊷䈒⍮䈦䈩䉎ੱ䈏䇮ᤐ䉕ᓙ䈤ᦸ䉃᳇ᜬ䈤䈪䈇䈦䈴䈇䈱ᤨ䈮䈲䇮䇸⊕䈇㔰䇹䈲䇸ጊ䈮ዬਗ䈹᪉⧎䇹䈫䈚䈩
䈉䈧䉒
䈾䈬
䉐䈩䈇
ᗐ௝䈱ਛ䈪⟤䈚䈒ດ䈐⹶䉎䈖䈫䈪䈚䉊䈉䊶䊶䊶⺒⠪䈱ᗐ௝ജ䈱 ེ 䈱⒟䉕㔺๒䈜䉎䈫䈶䈐䉍෩䈚䈇⹜⮎䉂䈢䈇䈭
⹞䈭䈱䈪䇮䈉䈎䈧䈮෻ᔕ䈜䉎䈫䊍䊄䈇⋡⷗䉁䈜䇯
The author of this poem, ჼ↢ᔘጙ(Mibu-no-Tadamine), is undoubtedly the greatest technician in the
world of Heianese TANKA... be on the keenest poetic alert when face to face with his verse. Don't be
taken in by the tricky phrase ጊ䉅㔰䉂䈩੹ᦺ䈲⷗䉉(yama mo kasumi-te kesa wa miyu䋽the mountain
appears to be covered with haze this morning) 㵪 this is an illusion: the haze is NOT actually there
(there is only snow) 㵪 why can we be sure? Look at the opening phrase ᤐ┙䈧䈫⸒䈸䈳䈎䉍䈮
(haru-tatsu to yuu bakari-ni䋽just because the calendar says this is the first day of Spring䋽February
4th on the solar calendar). The author attributes (or feels inclined to attribute) the white color of the
mountain of ศ㊁(Yoshino) to ᪉(sakura䋽cherry blossom of Spring) rather than to 㔐(yuki䋽snow of
Winter), although he knows it's too premature to expect cherry flowers to bloom: so, he refers neither
to ᪉(sakura䋽cherry) nor to 㔐(yuki䋽snow) but simply blurs it into the white veil of 㔰(kasumi䋽
haze), leaving it up to the reader to imagine what the white haze is... to inattentive readers, it's just
"haze" as the poem says; to meticulous realists, it MUST be "snow"; in the eyes of those well-acquainted
with the nature of ศ㊁(Yoshino) and hopeful of the arrival of Spring, the white hazy veil can transform
itself into "a row of cherry flowers", beautifully blooming in imagination. This is a poetic acid test to
reveal the imaginative caliber of the reader... respond with care.
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶
䈫 䈤 䈏 䉌
䈏䉖䈇
䈉䈢䉁䈒䉌
䇶࿯࿾ᨩ䈮฽ᗧ䈅䉍䈔䉍䇸᱌ᨉ䇹䇷
䈖 䈎
䈍䈍䈎䈢
ฎ᱌䈱ਛ䈮䈢䉁䈢䉁಴䈩᧪䈢࿾ฬ䈭䉌૗䈪䉅䈎䉖䈪䉅䇸᱌ᨉ䇹䇮䈫䈇䈉䈱䈲๺᱌䉕⍮䉌䈭䈇ᄢᣇ䈱ᣣᧄੱ䈱
㫀 㫄 㪸 㪾 㪼
⺋⸃䈪䇮䇸૗䈎ౕ૕⊛䈭䉟䊜䊷䉳䉕๭䈶⿠䈖䈜‛੐䉇࿯࿾䈱ฬ䇹䈖䈠䈏⌀䈱ᗧ๧䈪䈱䇸᱌ᨉ䇹䇯⸒䈇឵䈋䉏
䈳䇮䉟䊜䊷䉳䈱ᐢ䈏䉍䉕䉅䈢䉌䈘䈭䈇࿾ฬ䈮䈲䇸᱌ᨉ䇹䈱⾗ᩰ䈭䈚䇯䇸ศ
ศ㊁䇹䈲䇸㔐䇹䈫䇸᪉䇹䈱᱌ᨉ䈫䈚䈩᦭ฬ䈣
㵪Spring㵪
-24-
http//zubaraie.com
㵪ᤐ㵪
䈫䉅䈭
䈔䈬䇮․䈮㑐ㅪઃ䈔䈩⺆䉌䉏䉎䈼䈐૗䈱ㅪᗐ䉅઻ 䉒䈭䈇႐ว䈲䇮න䈭䉎䇸࿾ฬ䇹䈪䈚䈎䈭䈒䇸᱌ᨉ䇹䈪䈲䈭䈇䇯
䈕䉖䈐䉈䈉
หᤨ䈮䉁䈢ⷡ䈋䈩䈍䈒䈼䈐䈲䇮䇸࿾ฬ䇹એᄖ䈱䇸‛੐䇹䈪䉅䇮䈠䈱ฬ䈮⸒෸䈜䉏䈳හᐳ䈮ᶋ䈎䈶਄䈏䉎૗䉌
䈍䈫䈝
䈚
䈘
䈅䉍䈅䈔
䈎䈱ㅪᗐ䉕઻䈉႐ว䈲䇸᱌ᨉ䇹䈮䈭䉎䈫䈇䈉䈖䈫䇯䈣䈎䉌䇮䇸ḩ䈢䈘䉏䈯䈉䈤䈮 ⸰ 䉏䈢೎䉏䇹䉕␜ໂ䈜䉎䇸᦭᣿
䈭 䈗
䈫䉅䈭
䌛䈱᦬䌝䋽᣿䈔ᣇ䈱ⓨ䈮䉀䈧䉖䈫ᱷ䉎೨ᄛ䈱ฬᱷ䉍䈱᦬䇹䉅䇮䇸⦟䈎䈦䈢ᤨᦼ䈲䉅䈉⚳䉒䉍䇹䈱ᗵ䈛䈏 ઻ 䈉
䈚䈓䉏
䇸ᤨ㔎䋽᥅⑺䈎䉌ೋ౻䈮䈎䈔䈩䈱ㅢ䉍㔎䇹䉅䇮䈬䈤䉌䉅┙ᵷ䈭䇸᱌ᨉ䇹䇯
䇶᱌ᨉ(uta-makura䋽a poetic pillow) 㵪 a name suggestive of some special image䇷
In spite of the misconception of most Japanese laypersons, ᱌ᨉ(uta-makura) does not refer to any
given names of places that happened to appear in old poems. The authentic meaning of ᱌ᨉ
(uta-makura) is a thing or place suggestive of some specific image. In other words, no place name is
worthy of the title of ᱌ᨉ(uta-makura) unless it works as an image-enhancer. ศ㊁(Yoshino) is a
famous ᱌ᨉ(uta-makura) for both 㔐(yuki䋽snow) and ᪉(sakura䋽cherry blossom), but places
without anything specifically associated with their names are mere places, no ᱌ᨉ(uta-makura). It
should also be noted that things other than places are also ᱌ᨉ(uta-makura) if they have some notion
associated with them, instantly conjured up by the mention of their names. Thus, ᦭᣿䌛䈱᦬䌝
(ariake[no tsuki]䋽the moon in the morn, suggesting unsatisfied departure) and ᤨ㔎(shigure䋽
scattered rain from late Autumn to early Winter, suggestive of the passing of a good season) are both
᱌ᨉ(uta-makura).
䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭
䃂9䃂䉋䈚䈱䉇䉁䈘䈒䉌䈏䈋䈣䈮䉉䈐䈤䉍䈩㩷 䈲䈭䈍䈠䈕䈭䉎䈫䈚䈮䉅䈅䉎䈎䈭
ศ㊁ጊ᪉䈏ᨑ䈮㔐ᢔ䉍䈩⧎ㆃ䈕䈭䉎ᐕ䈮䉅䈅䉎䈎䈭
䇼ᤐ䇽[⻘ដ]䇺8)ᣂฎ੹㓸:79䇻⷏ⴕ䋨䈘䈇䈑䉊䈉䋩
䈤
䈥
ศ㊁ጊ䈱᪉䈱ᨑ䈱਄䈮⊕䈇㔐䋨䉄䈇䈢䉅䈱䋩䈏ᢔ䉍ᢔ䉍䈮Ⓧ䉅䈦䈩䈇䉎䈫䈖䉐䉕⷗䉎䈫䇮੹ᐕ䈲଀ᐕ䈮䈭䈒
㩷
᪉䈱㐿⧎䈏ㆃ䈇ᐕ䈮䈭䉍䈠䈉䊶䊶䊶䈦䈩䇮䈍䉆䇮䉋䈒⷗䉏䈳䈠䈱⊕䈇ᢔ䉍ᢔ䉍䈱㔐䈲䇮䈭䈄䊷䉖䈣䇮᪉䈱⧎䈛䉆
䈭䈇䈎䋣䉅䈉ດ䈇䈩䈢䉖䈣䉋䇮㔐䈫⷗㑆㆑䈋䈩䈢䈣䈔䈪䊶䊶䊶䈘䈜䈏ศ㊁䇮㔐䈫᪉䈱ฬᚲ䈣䈔䈱䈖䈫䈲䈅䉎䈰䇯
On the branches of cherry trees snow has been scattered:.
Flowers seem late coming out this year.
...Oops! What did I see but snow-white cherry already!
How nicely I was taken in by the legendary Yosino-yama!
䉋䈚䈱䉇䉁䇼ศ㊁ጊ䇽䈀ฬ䈁䋼[࿕᦭ฬ⹖]ศ㊁ጊ䌼(n.)the mountain of Yoshino䋾䋯䈘䈒䉌䇼᪉䇽䈀ฬ䈁䋼᪉䌼
(n.)cherry [tree, blossom]䋾䋯䈏䇼䈏䇽䈀ᩰഥ䈁䋼䈱䌼(prep.)'s䋾䋯䈋䈣䇼ᨑ䇽䈀ฬ䈁䋼ᨑ䌼(n.)a branch䋾䋯
䈮䇼䈮䇽䈀ᩰഥ䈁䋼႐ᚲ䌼(prep.)PLACE䋾䋯䉉䈐䇼㔐䇽䈀ฬ䈁䋼㔐䌼(n.)snow䋾䋯䈤䉎䇼ᢔ䉎䇽䈀⥄䊤྾䈁䋼ᢔ䉎
䌼(v.)fall䋾䋨䈤䉍䋽ㅪ↪ᒻ䋩䋯䈩䇼䈩䇽䈀ធഥ䈁䋼㗅ធ䌼(conj.)and䋾䋯䈲䈭䇼⧎䇽䈀ฬ䈁䋼⧎䌼(n.)flowers䋾
䋯䈍䈠䈕䈭䉍䇼ㆃ䈕䈭䉍䇽䈀ᒻേ䊅䊥䈁䋼ㆃ䈠䈉䈣䌼(adj.)apparently late䋾䋨䈍䈠䈕䈭䉎䋽ㅪ૕ᒻ䋩䋯䈫䈚
䇼ᐕ䇽䈀ฬ䈁䋼ᐕ䌼(n.)a year䋾䋯䈭䉍䇼䈭䉍䇽䈀ഥേ䊅䊥ဳ䈁ᢿቯ䋼䌾䈪䈅䉎䌼(aux-v.)be䋾䋨䈮䋽ㅪ↪ᒻ䋩䋯䉅
䇼䉅䇽䈀ଥഥ䈁䋼ᗧ๧䈭䈚䌼(adv.)NO MEANING䋾䋯䈅䉍䇼䈅䉍䇽䈀⵬േ䊤ᄌ䈁䋼䌾䈪䈅䉎䌼(aux-v.)be䋾䋨䈅䉎
䋽ㅪ૕ᒻ䋩䋯䈎䈭䇼䈎䈭䇽䈀⚳ഥ䈁䋼⹗གྷ䌼(interj.)EXCLAMATION䋾
[Yoshino-yama sakura-ga eda ni yuki chiri-te hana osoge-naru toshi ni-mo-aru kana]
䈚䉐䉁䈑
䉸 䊜 䉟 䊣 䉲 䊉
䈉䈜䉅䉅䈇䉐
⍴᱌਎⇇䈱વ⛔⧓䈱䇸㔐䇹䈫䇸᪉䇹䈱⊕⚗䉏䇯⃻ઍ䈱᪉䋨ᨴ੗ศ㊁䋩䈲䇸⭯᩶⦡䇹䈣䈔䈬䇮ᐔ቟ᤨઍ䈱᪉䋨ጊ᪉䋩
䈲䇸⌀䈦⊕䇹䈭䈱䈪ᓮ↪ᔃ䇯䈖䈱᱌䈱૞⠪䋨⷏ⴕᴺᏧ䋩䈲䇮ᨑ䈱਄䈱䇸⊕䇹䉕䇸㔐
㔐䇹䈣䈫⺒䉂ᚻ䈏ᕁ䈇ㄟ䉃䉋䈉
䈅
䈜
ᗧ࿑⊛䈮⺃ዉ䈚䈩䈇䉎䈔䈬䇮ታ㓙䈮䈲䈖䈱⊕䈇䉅䈱䈲䇸᪉䇹䇯䈬䈉䈚䈩䈖䈉䉁䈪᣿䈔ㅘ䈔䈭䉻䊙䉲䈱ᘒᐲ䉕ข
䈑䈠䈉
䉎䈱䈎䈦䈩䋿ᓐ䈱ᤨઍ䈮䈲䈜䈪䈮䉅䈉䈖䈱䇸⊕⚗䉏䇹䈱䊃䊥䉾䉪䈲⷗䈋⷗䈋䈜䈑䈩䇮ᄢ⢙䈭னⵝᛮ䈐䈪ੱ೨
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-25-
㵪Spring㵪
㵪ᤐ㵪
䈮಴䈚䈩䉅ᒰᤨ䈱⺒⠪䈲⺕䉅ᒁ䈦ដ䈎䈦䈩䈒䉏䈭䈎䈦䈢䈎䉌䈪䈜䊶䊶䊶ห䈛㆏䉕䋳䋰䋰ᐕ㑆䉂䉖䈭䈚䈩〯䉂
䈭䉌
䈢䈬
ဋ䈜䈉䈤䈮䇮䊓䊮䈭⣁㆏䈮䈠䉏䈤䉆䈦䈢ᗵ䈛䊶䊶䊶䈖䈉䈚䈩ᐕ᦬䈏ᵹ䉏䉎䈾䈬䈮䇮䈠䈱㆏䉕ㄡ䉐䈉䈫䈜䉎ੱ㆐䉅
䈇䈭䈒䈭䈦䈤䉆䈦䈢䇮䈦䈩⹤䈪䈜䇯
Traditional white confusion of 㔐(yuki䋽snow) with ᪉(sakura䋽cherry flowers). Be advised that
Heianese cherry(ጊ᪉:yama-zakura) bloomed in white (not cherry-pink as the current ᨴ੗ศ㊁䋺
Somei-Yoshino). This author, ⷏ⴕᴺᏧ(Saigyou houshi), is consciously trying to mislead readers into
believing what is white on the branch is 㔐(yuki䋽snow), which is actually ᪉(sakura䋽cherry
blossom)... Why is he so blatantly deceptive? Because this white confusion had already been too
hackneyed to present without flamboyant disguise to cheat readers of the day. The same old beaten
path of 300 years going astray... only to lose followers with advancing years.
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶
䈲䈇䈎䈇
䈘䉖䈶䉆䈒䈣䈇䈕䉖 䈫䈉䈎䈇
䇶䇸େ⺽䇹䈱ਃ⊖ઍ⸒䇸㖭᥂䋨ୟუ䋿䋩⿰๧䇹䇷
䈚䈇䈎
⹞᱌䈱਎⇇䈲䇮ᤄ䈎䉌ᄌ䉒䉌䈯ᗐᔨ䉕⛘䈋䈝ᣂ䈢䈭⴫⃻䈪⸒䈇⴫䉒䈜ദജ䈱Ⓧ䉂㊀䈰䇯ᗐᔨ䈠䈱䉅䈱䈲
䈐䉈䈉䈢䈇
Ᏹ䈮ฎ䈒䈩ᄌ䉒䉌䈭䈇䈱䈏ᒰ䈢䉍೨䋻䈘䉅䈭䈒䈳ජᐕ䉅ᤄ䈱⹞䈏⃻ઍੱ䈱ᔃ䈮ዯ䈒㆏ℂ䈏䈭䈇䇯䈠䉖䈭ᣥᘒ
䈇䈟䉖
䈇 䉏 䉅 䈱
ଐὼ䈱ᔃ䈱ਛり䉕౉䉏䉎ᣂ䈢䈭ኈ䉏‛䉕ត䈚᳞䉄䉎䈱䈏⹞ੱ䈱઀੐䈣䈏䇮䈠䉏䈏ᤨ䈫䈚䈩䇸ᣂᄸ䇹䈫䈇䈉
㩷
䉋䉍䇸⃟ᅱ䇹䈭⴫⃻䈮ⴕ䈐⌕䈒䈖䈫䉅䈅䉎䇯౎ઍ㓸䈱ᦨᓟ䈮䈅䈢䉎䇺ᣂฎ੹㓸䇻䈲䇮䈅䉁䉍䈮౉䉍⚵䉂䈜䈑䇮
㩷
䈅䈇䉁䈇
䈉䈤䉒
䈭䈇䈍䈉
䈚䉖䈋䉖
䈅䉁䉍䈮ᦌᤒ䈪䇮ౝベ䈮䈚䈎ㅢ䈛䈯ౝᅏ䈱ᷓ㆙䈘䉕䈅䉁䉍䈮䉅ᗧ⼂⊛䈮ᔒะ䈚䈜䈑䈩䈇䈩䇮ਃ⊖ᐕ䈮෸䈹
䉅䈒䉐䈒
ᐔ቟⺞⍴᱌䈱⋡㍳䈱ో䈩䈮♖ㅢ䈚䈢ඳቇ䈱ᜬ䈤ਥ䈪䉅䈭䈇㒢䉍䈲ᚻ䈮⽶䈋䈭䈇᱌㓸䈫䈚䈩᦭ฬ䋨䈫䈇䈉䈎䇮
䈅䈒䉂䉊䈉
䉋
ᖡฬ㜞䈇䋩䊶䊶䊶䈖䈖䈮⚫੺䈚䈢⷏ⴕ䈱ᣂฎ੹᱌䉅䇮ၮᧄ⊛䈮䈲シ䈇᳇ᜬ䈤䈪⹗䉁䉏䈢େ⺽䋨䋽౬⺣䋩䈱᱌
㩷
䈇䉖䈽䈇
䈭䈱䈣䈔䉏䈬䇮䊅䉹䊅䉹ㆆ䈶䈱㓝⭁Ꮏ૞䈏ᐲ䉕⿧䈚䈩ᷓ䈜䈑䉎䈱䈪䇮ᐔ቟ᧃᦼ䈱⍮⼂ੱ᳇ข䉍એᄖ䈱
㩷
⺕䈱ᔃ䈮䉅䈜䉖䈭䉍ዯ䈒䉅䈱䈪䈲䈭䈇䇯䈠䉏䈪䈇䈩䈖䈱᱌䈲䇮䈫䉍䈅䈋䈝⺒⠪䈮⚫੺䈚䈩䉅⦟䈘䈠䈉䈭ᢙ
㩷
ዋ䈭䈇䋨䉁䈄䉁䈣䊙䊃䊝䈭䋩ᣂฎ੹᱌䈱৻䈧䇯䈖䈱᱌䉕⷗䉏䈳䇮ᒰᤨ䈱ᐔ቟⺞⍴᱌䈏䈇䈎䈮ᕷ⹣䉁䉎ᗵ䈛䈪
ⴕ䈐⹣䉁䈦䈩䈇䈢䈎䈏䉒䈎䉎䈣䉐䈉䈚䇮᧲ᣣᧄ䈱㎨ୖ᐀ᐭ䈱೨䈮੩ㇺ䈫⾆ᣖ㓏ጀ䈏᡽ᴦ⊛ᆭశ䉕ᄬ䈇
㩷
䉋
䈧䈧䈅䉎਎䈮䈅䈦䈩䇮ᒰᤨ䈱᱌⹗䉂ㅪਛ䈏⥄䉌䈱⁛⥄ᕈ䉕ਥᒛ䈜䉎਄䈪૗䈫䉅㘑ᄌ䉒䉍䈭䉇䉍ᣇ䉕ㆬ䉖䈣
䈉䈎䈏
䈜 䉂 䈦 䈖
䈠䈱䈘䉁䉅 ┍ 䈇⍮䉏䉎䈖䈫䈣䉐䈉䇯䈛䉒䈛䉒䈫䉮䊷䊅䊷䈻ㅊ䈇⹣䉄䉌䉏䈢ᤨ䇮⷏᰷ੱ䈭䉌䉂䉖䈭䈪ജ䉕ว䉒
䈞䈳
䈞䈩᛼䈚㄰䈚䈩ᣂ䈢䈭਎⇇䈻䈱ᵴ〝䉕ಾ䉍㐿䈖䈉䈫䈜䉎䈏䇮ᣣᧄੱ䈱႐ว䈲䈛䉒䈛䉒⁜䉁䉍ⴕ䈒ዊ䈘䈭਎⇇
䈇 䈳 䈚 䉊
䈱
䈱ਛ䈮⥄ಽ䈱ዬ႐ᚲ䉕⏕଻䈚䉋䈉䈫䈚䈩ઁ⠪䉕᛼䈚ㅌ䈔䉎䈼䈒䇸ㇱᄖ⠪䈍ᢿ䉒䉍䋣䇹䈫ਥᒛ䈜䉎䈢䉄䈱
㩷
᡹᠄⊛䈭䉁䈪䈮ឃઁ⊛䈭䉼䊙䉼䊙䈫䈚䈢ኾ㐷⊛⍮⼂䈱䈵䈔䉌䈎䈚䈮ᵴ〝䉕⷗಴䈠䈉䈫䈜䉎䊶䊶䊶䈠䉖䈭䈖䈫
㩷
䈚䈩䉎䉋䈉䈛䉆䇮⥄䉌ㆬ䉖䈣వ⚦䉍䈱㆏䈱ᨐ䈩䈮⛘Ṍ䈚䈢䈫䈚䈩䉅䇮䉁䈄ᒰὼ䈱⹤䇯
䇶㖭᥂⿰๧(toukai shumi䋽extreme euphemism) 㵪
a sickly thick deceptive layer accumulated over 3 centuries trying to pull your leg䇷
The world of poetry consists of the same old idea expressed in ever fresh ways ȸ the idea itself MUST
be old and the same (otherwise, how could a millennium-old poem reach our heart?), while poets seek
out new bottles to put in old wine... sometimes resulting in stupidity rather than novelty. ᣂฎ੹㓸
(Shin-Kokin shuu), the very last of ౎ઍ㓸(Hachidai shuu䋽8 great Imperial TANKA anthologies), is
famous (or infamous) for being too intricate, too euphemistic, too consciously esoteric, simply too
much for anyone but the erudite well-read in the 300-year repertoire of Heianese poetry. This ᣂฎ੹
-TANKA by ⷏ⴕ(Saigyou), essentially a lighthearted joke, is buried too deep in the camouflage of a
riddle to reach the heart of anyone outside the small circle of would-be intellectuals at the end of the
Heian era. Still, this is one of the few ᣂฎ੹⺞(Shin-Kokinese) works for me to be able to introduce to
you to show the suffocating impasse of Heianese TANKA and the bizarre way the contemporary poets
aspired for their own uniqueness, in years when ੩ㇺ(Kyoto) and the nobles were losing their political
㵪Spring㵪
-26-
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㵪ᤐ㵪
prestige to the samurai-shogunage in ㎨ୖ(Kamakura), eastern part of Japan. When pushed to the
corner, Westerners try to concentrate their collective efforts to push back and break their way out into a
new world; the Japanese try to push others off to claim their place in the dwindling space by resorting
to aggressively esoteric technicalities to declare "Members Only!"... No wonder they will diminish
themselves into extinction.
䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭
䃂10䃂䉂䉒䈢䈞䈳䉇䈭䈑䈘䈒䉌䉕䈖䈐䉁䈟䈩㩷 䉂䉇䈖䈡䈲䉎䈱䈮䈚䈐䈭䉍䈔䉎
⷗ᷰ䈞䈳ᩉ᪉䉕ᛒ䈐ᷙ䈟䈩ㇺ䈡ᤐ䈱㍪䈭䉍䈔䉎
䇼ᤐ䇽[ᯏ⍮]䇺1)ฎ੹㓸:56䇻⚛ᕈ䋨䈠䈞䈇䋩
䈍䈉䈎
䈛䉈䈉䈍䈉
ጊ䈱਄䈎䉌⷗᥍䉎䈎䈜੩ㇺ䈱↸䈲䇮᪉⧎䈱᷆䈇⊕䈫㘑䈮䈭䈶䈒ᩉ䈱✛䈏❑ᮮ䈮౉䉍੤䈛䉍䇮
䈮䈚䈐䈍䉍
⥄ὼ䈱❱䉍䈭䈜ᤐ䈱㍪❱䈱䉋䈉䇯
The capital of Kyoto seen from the distance
Looks like brocade woven with willow-green and cherry-white.
䉂䉒䈢䈜䇼⷗ᷰ䈜䇽䈀ઁ䉰྾䈁䋼⷗ᷰ䈜䌼(v.)look over䋾䋨䉂䉒䈢䈞䋽Ꮗὼᒻ䋩䋯䈳䇼䈳䇽䈀ធഥ䈁䋼䌾䈚䈢䈫
䈖䉐䌼(conj.)when䋾䋯䉇䈭䈑䇼ᩉ䇽䈀ฬ䈁䋼ᩉ䌼(n.)willow䋾䋯䈘䈒䉌䇼᪉䇽䈀ฬ䈁䋼᪉䌼(n.)cherry [tree,
blossom]䋾䋯䉕䇼䉕䇽䈀ᩰഥ䈁䋼⋡⊛ᩰ䌼(prep.)OBJECT䋾䋯䈖䈐䉁䈝䇼ᛒ䈐ᷙ䈝䇽䈀ઁ䉱ਅੑ䈁䋼౉䉍ᷙ䈟
䉎䌼(v.)mix together䋾䋨䈖䈐䉁䈟䋽ㅪ↪ᒻ䋩䋯䈩䇼䈩䇽䈀ធഥ䈁䋼㗅ធ䌼(conj.)and䋾䋯䉂䉇䈖䇼ㇺ䇽䈀ฬ䈁䋼
ㇺ䌼(n.)the capital䋾䋯䈡䇼䈡䇽䈀ଥഥ䈁䋼ᒝ⺞䌼(adv.)EMPHASIS䋾䋯䈲䉎䇼ᤐ䇽䈀ฬ䈁䋼ᤐ䌼(n.)Spring䋾
䋯䈱䇼䈱䇽䈀ᩰഥ䈁䋼䈱䌼(prep.)'s䋾䋯䈮䈚䈐䇼㍪䇽䈀ฬ䈁䋼㍪䌼(n.)brocade䋾䋯䈭䉍䇼䈭䉍䇽䈀ഥേ䊅䊥ဳ䈁ᢿቯ
䋼䌾䈪䈅䉎䌼(aux-v.)be䋾䋨䈭䉍䋽ㅪ↪ᒻ䋩䋯䈔䉍䇼䈔䉍䇽䈀ഥേ䊤ᄌဳ䈁⹗གྷ䋼䌾䈣䈦䈢䈱䈣䈭䈄䌼
(interj.)REALIZATION䋾䋨䈔䉎䋽ㅪ૕ᒻଥ䉍⚿䈶䋩
[miwatase-ba yanagi sakura wo kokimaze-te miyako zo haru no nishiki nari-keru]
䈭䈏
䈲䉎䈕䈚䈐
ጊ䈱਄䈎䉌⌑䉄䈢੩ㇺ䈱ᤐ᥊⦡䇯੩ㇺ䈲䋨ධ┵䉕㒰䈒䋩๟࿐䉕ጊ䈮࿐䉁䉏䈢⋆࿾䈪䇮䈠䈱⥄ὼ䈫䈱ㄭធᗵ
䈎 䈤 䉊 䈉 䈸䈉䈕䈧
䉋
䈇䈒䈢
䈚䈇䈎
䈎䉌䇮⧎㠽㘑᦬䉕⹗䉃ᐞᄙ䈱⹞᱌䈏⥄ὼ䈫↢䉁䉏䇮ቄ▵䈱⒖䉐䈇䈮ᷓ䈇㑐ᔃ䉕ነ䈞䉎ᣣᧄ䈱વ⛔⊛ᗧ⼂
䉅ᒻᚑ䈘䉏䉁䈚䈢䇯
The Spring sight of the city of ੩ㇺ(Kyoto) surveyed from the top of a mountain. ੩ㇺ(Kyoto) is a basin,
surrounded (except on the southern side) by mountains, which proximity to Nature naturally gave rise
to many poems of ⧎㠽㘑᦬(kachoufuugetsu䋽flowers, birds, wind and the moon), forming traditional
Japanese sentiment deeply attached to seasonal transition.
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶
䈍䈍䉃䈖
䈉䈭
䈚䉈䈖䈉
䇶ᄢะ䈉໗䉌䈜ᗧ࿑䈱䇸⿰ะ䇹᱌䇷
䈅䈸
䈬䈉䈚䈩䉅⸒⪲䈮䈞䈝䈮䈲䈇䉌䉏䈭䈇ᕁ䈇䈏⹞ੱ䈱ౝ㕙䈎䉌ḷ䉏಴䈚䈩ᒻ䈮䈭䈦䈢⹞䉅䈅䉏䈳䇮⺒䉂ᚻ䈱
䈅䈎䈯
䈐
䈞䉍䈸
ᯏォ䉕⹜䈜⻘ដ䈔䈫䈚䈩಴䈩䈒䉎᱌䉅䈅䉎䇯䈖䈖䈮⚫੺䈚䈢⍴᱌䈱䉋䈉䈭၁ᛮ䈔䈚䈢⿰ะ䉇᳇䈱೑䈇䈢บ⹖
䈳䉖䈮䉖
䉇ਁੱะ䈔䈱⾥᱌䉕䉅䈦䈩ḩᐳ䈱ᜉᚻ䉕ᒁ䈦䈘䉌䈍䈉䈫䈜䉎᱌䉅䉁䈢䇮ᐔ቟⺞⍴᱌䈱਎⇇䈮䈲ጊ䈾䈬䈅䉎
䉋
䈇䈫䈭
㵪 䈭䈟䈭䉌䇮ᐔ቟䈱਎䈮䈅䈦䈩䇸᱌䉕⹗䉃䇹䈫䈇䈉 ༡ 䉂䈲ၮᧄ⊛䈮䋨䈤䉊䈉䈬੹ᣣ䈱䉦䊤䉥䉬䈱䉋䈉䈮䋩
㩷
䈙䈐䉊䈉
䈾䈫䉖
䇸⧓ⴚഃ૞ᵴേ䇹䈫䈇䈉䉋䉍䉃䈚䉐䇸ᐳ⥝⧓䇹䈣䈦䈢䈎䉌䇯䉦䊤䉥䉬ᾲ໒⠪䈱᱌ჿ䈱 ᱴ 䈬䈏ખ㑆䈱ベ䈱ᄖ䈪䈲
㩷
䈢
䈚䉐䉅䈱
䈉䈢
⡞䈒䈮ႊ䈋䈭䈇ઍ‛䈪䈅䉎䈱䈫ห᭽䈮䇮ᐔ቟䈱਎䈮⹶䉌䈚䈕䈮⻭䉒䉏䈢⿰ะ᱌䈱䈾䈫䉖䈬䈲䇮੹ᣣ䈱ᚒ䇱
䈡䈒䈹䈧
䈱⋡䈮䈲䇸᳇ข䈦䈢ଶ‛⿰๧䈱䉯䊚䉦䉴䇹䈫䈚䈎ᤋ䉌䈭䈇䊶䊶䊶䈖䈱䇸ᤐ
ᤐ䈱㍪䇹䈱᱌䈲᣿䉌䈎䈮೎‛䈣䈔䈬䇯
䇶stylish poems with a view to impress the whole gallery䇷
Some poems are born as an embodiment of the poet's feelings crying out for verbal expression; others
are given as a riddle to challenge the reader's wit. Songs like this one ȸ an applause-grabber by way of
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-27-
㵪Spring㵪
㵪ᤐ㵪
sophisticated style, witticism or anthem ȸ were found in abundance in Heianese TANKA, since it was
essentially not so much artistic creation as party entertainment (just like today's KARAOKE). Just as
most KARAOKE singers do not merit hearing outside their friendly circles, proudly stylish TANKA of
the Heian era were most of them mere trashy snobbery to our eyes... which this Spring brocade song
obviously isn't.
䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭
䃂11䃂䈲䈭䈱䈇䉐䈲䈎䈜䉂䈮䈖䉄䈩䉂䈞䈝䈫䉅㩷 䈎䉕䈣䈮䈯䈜䉄䈲䉎䈱䉇䉁䈎䈟
⧎䈱⦡䈲㔰䈮☜䉄䈩⷗䈞䈝䈫䉅㚅䉕䈣䈮⋑䉄ᤐ䈱ጊ㘑
䇼ᤐ䇽[ᯏ⍮]䇺1)ฎ੹㓸:91䇻ㆉᤘ䋨⦟ጙቬ⽵䋩䋨䈻䉖䈛䉊䈉䋨䉋䈚䉂䈰䈱䉃䈰䈘䈣䋩䋩
ᤐ䈱㔰䈮ኽ䈛ㄟ䉄䉌䉏䈩⷗䈋䈭䈇䈔䉏䈬䇮ጊ䈱਄䈮䈲ḩ㐿䈱᪉䈏ດ䈐⹶䈦䈩䈇䉎䈖䈫䈣䉐䈉䊶䊶䊶
䈸䉅䈫
ᤐ㘑䉋็䈔䇮⋡䈮䈲ᤋ䉌䈯䈠䈱⧎䈱䇮㚅䉍䈣䈔䈪䉅 㣽 䈱ᚒ䇱䈱䉅䈫䈮䈖䈦䈠䉍ዯ䈔䈩䈍䈒䉏䇯
Sight and color of cherry unseen beyond the mountain haze
Should at least be ours to smell with a little help from Nature:
Steal, Spring wind, the flowery scent for us.
䈲䈭䇼䈲䈭䇽䈀ฬ䈁䋼⧎䌼(n.)[especially, cherry] flower䋾䋯䈱䇼䈱䇽䈀ᩰഥ䈁䋼䈱䌼(prep.)'s䋾䋯䈇䉐䇼⦡䇽
䈀ฬ䈁䋼⦡䌼(n.)color䋾䋯䈲䇼䈲䇽䈀ଥഥ䈁䋼䌾䈮㑐䈚䈩䈲䌼(adv.)as for 䌾䋾䋯䈎䈜䉂䇼㔰䇽䈀ฬ䈁䋼㔰䌼
(n.)haze䋾䋯䈮䇼䈮䇽䈀ᩰഥ䈁䋼ᚻᲑ䌼(prep.)by means of䋾䋯䈖䉃䇼☜䉃䇽䈀⥄䊙྾䈁䋼㐽䈛ㄟ䉄䉎䌼
(v.)envelop䋾䋨䈖䉄䋽ㅪ↪ᒻ䋩䋯䈩䇼䈩䇽䈀ធഥ䈁䋼⁁ᘒ䌼(conj.)while䋾䋯䉂䈜䇼⷗䈜䇽䈀ઁ䉰྾䈁䈀ઁ䉰ਅ
ੑ䈁䋼⷗䈞䉎䌼(v.)reveal䋾䋨䉂䈞䋽ᧂὼᒻ䋩䋯䈝䇼䈝䇽䈀ഥേ․ᱶဳ䈁ᛂᶖ䋼䌾[䈚]䈭䈇䌼(adv.)not 䌾䋾
䋨䈝䋽⚳ᱛᒻ䋩䋯䈫䉅䇼䈫䉅䇽䈀ធഥ䈁䋼䌾䈣䈫䈚䈩䉅䌼(conj.)even if䋾䋯䈎䇼㚅䇽䈀ฬ䈁䋼㚅䉍䌼(n.)the scent䋾
䋯䉕䇼䉕䇽䈀ᩰഥ䈁䋼⋡⊛ᩰ䌼(prep.)OBJECT䋾䋯䈣䈮䇼䈣䈮䇽䈀೽ഥ䈁䋼䈞䉄䈩䌾䈣䈔䈪䉅䌼(adv.)at least
䋾䋯䈯䈜䉃䇼⋑䉃䇽䈀ઁ䊙྾䈁䋼⋑䉃䌼(v.)steal䋾䋨䈯䈜䉄䋽๮઎ᒻ䋩䋯䈲䉎䇼ᤐ䇽䈀ฬ䈁䋼ᤐ䌼(n.)Spring䋾
䋯䈱䇼䈱䇽䈀ᩰഥ䈁䋼䈱䌼(prep.)'s䋾䋯䉇䉁䈎䈟䇼ጊ㘑䇽䈀ฬ䈁䋼ጊ䈱㘑䌼(n.) the wind blowing from the
mountain䋾
[hana no iro wa kasumi ni kome-te mise-zu-tomo ka wo dani nusume haru no yama-kaze]
䈫䈳䉍
䈾䈉䈖䈉
䇸⋡䈮⷗䈋䈯䈭䉌䇮䈞䉄䈩㚅䉍䈣䈔䈪䉅䇹䈫䇮ጊ䈱㔰䈱 Ꮽ 䈱ะ䈖䈉䈎䉌᪉䈱⧐㚅䉕ㆇ䉖䈪᧪䉎䉋䈉䇮⹞ੱ䈲
㩷
䈉䈦䈢
ᤐ㘑䈮 ⸷ 䈋䈎䈔䈩䈇䉁䈜䇯䋨਎ଶᤨઍ䈱䋩ᕜᗲ䈪䉅䋨↢ᶦㅢ䈚䈩䈍⋓䉖䈣䈦䈢䋩᱌䈱਎⇇䈪䉅౒䈮⪇㤀䉕
㩷
䈎䈠䈉
䈠䈉䈛䉊䈉
䉅䈦䈩⡞䈖䈋䈢䋨ᐔ቟ᤨઍᦨೋᦼ䈱᱌௯䋩௯ᱜㆉᤘ䉌䈚䈇⿰ะ䈱᱌䇯
"If not sight, at least scent" 㵪 the poet appeals to the Spring wind to bring cherry fragrance from
beyond the misty curtain over the mountain. A poem of style typical of ௯ᱜㆉᤘ(Henjou the highest
ranking Buddhist monk), TANKA-singing bonze of the earliest Heian era who was famous for
flamboyance both in love affairs (in his secular years) and poetry (throughout his life).
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶
䈚䉈䈦䈔
䈎䈠䈉
䇶䇸಴ኅ䇹䈚䈩䈭䈾ฬ䉕᳞䉃䇸᱌௯䇹䈎䈭䇷
䈿䈉䈝
䈢䈩䉁䈋䈛䉊䈉
䈚䉈䈑䉊䈉
ᐔ቟ᤨઍ䈱ᣣᧄ䈱ဌਥ䈲૗䈫䉅ਇᕁ⼏䈭㕖਎ଶ⊛ሽ࿷䈪䇮ᑪ೨਄䈲੽㆏ୃⴕ䈮ኾᔨ䈚䈩䈇䉎䈲䈝䈭䈱䈣
䉋
䈲䈕
䈔䈬䇮ታ㓙䈮䈲ᣣ䇱᱌⹗䉂䈮ബ䉂䈧䈧䇮䈠䈱ᚽ⧓䈮䉋䈦䈩ችᑨ䈱㜞૏㜞ቭ䈫䈱੤ᵹ䈱㆏䉕㐿䈖䈉䈫ᔅᱫ䈮
䈅 䈏
⿷ហ䈇䈩䈇䈢ੱ䇱䇯ଶ਎䈪䈱಴਎䈱⷗ㄟ䉂䈏䈭䈒䈭䈦䈢䉌䇮ဌਥ䈮䈭䈦䈩᱌⹗䉂䈱ᛛᏁ䉕⏴䈐䇮䈅䉒䉋䈒
䈉䈢䈎䈇
䈅䈇䈖
䈳䈬䈖䈎䈱᱌ળ䈪᡽ᴦജ䈱䈅䉎᦭ฬੱ䈫⍮䉍ว䈇䈮䈭䈦䈩䈠䈱䈗ᗲ㘈䉕᳞䉄䉎䇮䈫䈇䈉䈱䈏ᒰᤨ䈱਎䈱⠌
䈇䇯౎ઍ㓸䈮⊓႐䈜䉎⚂਻ජ੖⊖㚂䈱᱌䈱૞⠪✚ᢙ⚂ජਃ⊖ੱ䈱䈉䈤䇮䇸᱌௯䇹䈱ᢙ䈲䈾䈿ජੱ䈮㆐䈚䇮
䈠䈱䈉䈤౐⊖ੱએ਄䈏䋨ᐔ቟ᤨઍ䈱ᦨᧃᦼ䈱䋩䇺ජタ㓸䇻䈫䋨㎨ୖᤨઍ䈱ᦨೋᦼ䈱䋩䇺ᣂฎ੹㓸䇻䈮㓸ਛ䈚䈩䈇
䈙 䈖
䈞䈧
䈵 䈅
䉎䊶䊶䊶㔀㝼䈬䉅䈏ห䈛᳓〝䈮ฬჿ䈫ᚑഞ䉕ಾ䈮᳞䉄䈩⟲䈏䉍಴䈚䈢䉌䇮䈠䈱᳓〝䈲ᓎ┙䈢䈝䈫䈭䉍䇮ᐓ਄䈏
㵪Spring㵪
-28-
http//zubaraie.com
㵪ᤐ㵪
䉁䈥䈎
䈒 䈕
䉎ᤨ䉅㑆ㄭ䈫䈇䈉䈖䈫䊶䊶䊶䈎䈒䈩䇮ᐔ቟⺞⍴᱌䈱ఝ㓷䈭વ⛔䉅䇮౏ኅ䈱ᤨઍ䈱⚳䉒䉍䈫౒䈮ᕷ䉕ᒁ䈐ข䈦䈢䈱
䈿䈵䉄䈇
䈪䈅䉎䋺䈠䈱㘑ᄌ䉒䉍䈭Ⴤ⎼㌏䈫䈚䈩䇺ᣂฎ੹㓸䇻䉕ᓟ䈮ᱷ䈚䈩䇯
䇶singing bonzes renounced the world and still sought fame䇷
Heianese Japanese ဌਥ(bouzu䋽bonzes) were a strange breed of non-secular folks, who were
supposedly devoted to the way of the Buddha but were still in daily pursuit of making rhymes and tried
desperately to mingle with dignitaries of the Imperial Court by virtue of their artistic accomplishment.
When worldly success in the secular sector became hopeless, people of the day were in the habit of
becoming bonzes to hone their poetic skill and seek favor of people with political power, whom they
hoped to get acquainted with at some TANKA reading party. Of about 1,300 poets of some 9,500
poems appearing in ౎ઍ㓸(Hachidai shuu䋽8 great Imperial TANKA anthologies), some 1,000 were
᱌௯(kasou䋽singing bonzes), of which more than 600 were concentrated in the last two anthologies of
ජタ㓸(Senzai shuu) and ᣂฎ੹㓸(Shin-Kokin shuu), published respectively in the last years of ᐔ቟
(Heian) and at the break of ㎨ୖ(Kamakura). When small-timers swarm around the same channel for
coveted fame and success, the channel will soon cease to be valid and even drained. The elegant
tradition of Heianese TANKA breathed its last at the end of the age of nobles with ᣂฎ੹㓸
(Shin-Kokin shuu) as its bizarre epitaph.
䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭
䃨12䃨䉂䉏䈬䈅䈎䈯䈲䈭䈱䈘䈎䉍䈮䈎䈻䉎䈎䉍㩷 䈭䈾䈸䉎䈘䈫䈱䈲䉎䉇䈖䈵䈚䈐
⷗䉏䈬㘻䈎䈯⧎䈱⋓䉍䈮Ꮻ䉎㓵₈ฎ㉿䈱ᤐ䉇ᕜ䈚䈐
䇼ᤐ䇽[⥄ὼ]䇺3)ᜪㆮ㓸:55䇻⹗䉂ੱ⍮䉌䈝
ᚒ䇱䈫䈚䈩䈲䈇䈒䉌䈪䉅⷗䈩䈇䈢䈇䇮⷗㘻䈐䉎䈖䈫䈭䈬䈅䉍ᓧ䈭䈇䇮⷗੐䈭᪉䈱ḩ㐿䈱ᤨᦼ䈣䈫䈇䈉䈱䈮䇮
䈭䈧
䈠䉖䈭⧎䈮⢛䉕ะ䈔䈩ฎ㉿䈻䈫Ꮻ䉎ᷰ䉍㠽䈱㓵䈱⟲䉏䊶䊶䊶䉇䈦䈴䉍䇮↢䉁䉏⢒䈦䈢ᙬ䈎䈚䈇࿯࿾䈱ᤐ䈏䇮
ᕜ䈚䈇䈱䈎䈭䋿
Cherry trees in full bloom, endless feast to our eyes
Seem powerless to stop wild geese flying home to their country's Spring.
䉂䉎䇼⷗䉎䇽䈀ઁ䊙਄৻䈁䋼⷗䉎䌼(v.)view䋾䋨䉂䉏䋽Ꮗὼᒻ䋩䋯䈬䇼䈬䇽䈀ធഥ䈁䋼䈇䈒䉌䌾䈚䈩䉅䌼(conj.)no
matter how䋾䋯䈅䈒䇼㘻䈒䇽䈀⥄䉦྾䈁䋼㘻䈐䉎䌼(v.)have had enough of䋾䋨䈅䈎䋽ᧂὼᒻ䋩䋯䈝䇼䈝䇽䈀ഥേ
․ᱶဳ䈁ᛂᶖ䋼䌾[䈚]䈭䈇䌼(adv.)not 䌾䋾䋨䈯䋽ㅪ૕ᒻ䋩䋯䈲䈭䇼⧎䇽䈀ฬ䈁䋼⧎䌼(n.)flowers䋾䋯䈱䇼䈱䇽
䈀ᩰഥ䈁䋼䈱䌼(prep.)'s䋾䋯䈘䈎䉍䇼⋓䉍䇽䈀ฬ䈁䋼ᦨ⋓ᦼ䌼(n.)the prime䋾䋯䈮䇼䈮䇽䈀ᩰഥ䈁䋼ᤨ䌼
(prep.)TIME䋾䋯䈎䈻䉎䇼Ꮻ䉎䇽䈀⥄䊤྾䈁䋼Ꮻ䉎䌼(v.)go back䋾䋨䈎䈻䉎䋽ㅪ૕ᒻ䋩䋯䈎䉍䇼㓵䇽䈀ฬ䈁䋼[ᷰ䉍
㠽䈱]䉦䊥䌼(n.)wild geese䋾䋯䈭䈾䇼₈䇽䈀೽䈁䋼䈠䉏䈪䉅䈭䈍䌼(adv.)still䋾䋯䈸䉎䈘䈫䇼ฎ㉿䇽䈀ฬ䈁䋼᡿ㇹ
䌼(n.)the homeland䋾䋯䈱䇼䈱䇽䈀ᩰഥ䈁䋼䈱䌼(prep.)'s䋾䋯䈲䉎䇼ᤐ䇽䈀ฬ䈁䋼ᤐ䌼(n.)Spring䋾䋯䉇䇼䉇䇽
䈀ଥഥ䈁䋼⇼໧䌼(adv.)INTERROGATIVE䋾䋯䈖䈵䈚䇼ᕜ䈚䇽䈀ᒻ䉲䉪䈁䋼ᕜ䈚䈇䌼(v.)feel attached to䋾䋨䈖
䈵䈚䈐䋽ㅪ૕ᒻଥ䉍⚿䈶䋩
[mire-do aka-nu hana no sakari ni kaeru kari nao furusato no haru ya kohishiki]
ᷰ䉍㠽䈱ᔃႺ䈻䈫⹞ੱ䈏⥄ὼ䈮౒ᗵ䈱ᗐ௝䈱⠀䉕િ䈳䈚䈢䇸ᗵᖱ⒖౉䈱⹞䇹 㵪 ᭎䈚䈩ℂ⍮⊛䈭ᐔ቟ᤨઍ
䈔䈇䈹䈧
䈕䉖䈐䉈䈉
䈱⍴᱌䈏䇸⹞ੱ䈱୘ੱ⊛ᗵᖱ䈱ਥⷰ⊛ᛩᓇ䈱㏜䇹䈫䈚䈩䈚䈎⥄ὼ䈱᥊‛䈮⸒෸䈚䈭䈇䈖䈫䉕ᕁ䈉䈫䇮䈖䈱⍴
᱌䈲ᭂ䉄䈩⃟䈚䈇଀ᄖ䇯
A poem of empathy in which the poet naturally extends sympathetic imagination to the heart of
migrating birds ȸ quite a rare exception to generally intellectual TANKA of the Heian era which
referred to things in Nature only as a subjective mirror of the poets' personal sentiments.
http//zubaraie.com
-29-
㵪Spring㵪
㵪ᤐ㵪
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶
䇶䇸ሼ૛䉍䇹䈲䈅䉏䈬䇸ሼ⿷䉌䈝䇹ή䈎䉍䈔䉍䇷
䈚 䉊 䈒
䈖䈱⍴᱌䈱ೋฏ䈲䋨ᧄ᧪䈱੖ᢥሼ䉋䉍৻ሼᄙ䈇䋩౐ሼ䇮䈖䈉䈇䈉䈱䈲䇸ሼ૛䉍䇹䈫๭䈳䉏䇮⍴᱌਎⇇䈮䈲ጊ
㩷
䈾䈬䈅䈦䈩䇮䈖䈱᱌㓸䈮฽䉁䉏䉎䋲䋰䋰㚂䈱ਛ䈮䉅䋴䋶㚂䈅䉍䇮౎ઍ㓸䈱✚ᢙ⚂䋹䋵䋰䋰㚂䈱⍴᱌ਛ䈮䉅䋱䋷䋵䋰
䋨䈾䈿䋲ഀ䋩એ਄䈱䇸ሼ૛䉍䇹᱌䈏䈅䉎৻ᣇ䈪䇮੖䊶৾䊶੖䊶৾䊶৾䈮ḩ䈢䈯䇸ሼ⿷䉌䈝䇹䈱଀䈲䇮䈢䈣䈱৻㚂䉅
㩷
䈅䉍䉁䈞䉖䇯
䇶ሼ૛䉍(ji-amari䋽letters too many) are actually so many,
while ሼ⿷䉌䈝(ji-tarazu䋽letters too few) are virtually non-existent䇷
The opening phrase of this TANKA has 6 letters/syllables (1 letter/syllable too many). Such is called
㩷
ሼ૛䉍(ji-amari䋽letters too many), which are found in abundance in the world of TANKA 㵪 you can
find 46 out of 200 poems included in this book. More than 1,750 excessive-lettered/syllabled TANKA
are to be found among some 9,500 poems of ౎ઍ㓸(Hachidai shuu䋽8 great Imperial TANKA
anthologies) 㵪 nearly 2/5 of the whole, while there is absolutely NO(䋽0) ሼ⿷䉌䈝(ji-tarazu) one
with fewer letters/syllables than the regular 5-7-5-7-7.
䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭
䃂13䃂䈲䉎䈐䈩䈡䈵䈫䉅䈫䈵䈔䉎䉇䉁䈙䈫䈲㩷 䈲䈭䈖䈠䉇䈬䈱䈅䉎䈛䈭䉍䈔䉏
ᤐ᧪䈩䈡ੱ䉅⸰䈵䈔䉎ጊ㉿䈲⧎䈖䈠ኋ䈱ਥ䈭䉍䈔䉏
䇼ᤐ䇽[ᯏ⍮]䇺3)ᜪㆮ㓸:1015䇻⮮ේ౏છ䋨䈸䈛䉒䉌䈱䈐䉖䈫䈉䋩
᥉Ბ䈲⺕䉅⷗ะ䈐䉅䈚䈭䈇ጊ㉿䈮䉅䇮ᤐ䈏᧪䉏䈳ੱ䇱䉅䉇䈦䈩᧪䉎䇯
䉁䈦䈢䈒䇮ጊ㉿䈱ኋ䈱ਥੱ䈲䇮ੱ䈪䈲䈭䈒䇮ጊ᪉䈣䈰䈊䇯
It's because it's Spring that people visit this house.
The host is not me but flowers to invite and entertain them in the mountain.
䈲䉎䇼ᤐ䇽䈀ฬ䈁䋼ᤐ䌼(n.)Spring䋾䋯䈒䇼᧪䇽䈀⥄䉦ᄌ䈁䋼᧪䉎䌼(v.)come䋾䋨䈐䋽ㅪ↪ᒻ䋩䋯䈩䇼䈩䇽䈀ធഥ䈁䋼
㗅ធ䌼(conj.)and䋾䋯䈡䇼䈡䇽䈀ଥഥ䈁䋼ᒝ⺞䌼(adv.)EMPHASIS䋾䋯䈵䈫䇼ੱ䇽䈀ฬ䈁䋼ੱ㑆䌼(n.)a
human being䋾䋯䉅䇼䉅䇽䈀ଥഥ䈁䋼䌾䉅䉁䈢䌼(adv.)also䋾䋯䈫䈸䇼⸰䈸䇽䈀ઁ䊊྾䈁䋼⸰䉏䉎䌼(v.)visit䋾
䋨䈫䈵䋽ㅪ↪ᒻ䋩䋯䈔䉍䇼䈔䉍䇽䈀ഥേ䊤ᄌဳ䈁ㆊ෰䋼䌾[䈚]䈢䌼(aux-v.)PAST䋾䋨䈔䉎䋽ㅪ૕ᒻଥ䉍⚿䈶䋩䋯
䉇䉁䈙䈫䇼ጊ㉿䇽䈀ฬ䈁䋼ጊ㉿䌼(n.)the countryside䋾䋯䈲䇼䈲䇽䈀ଥഥ䈁䋼䌾䈮㑐䈚䈩䈲䌼(adv.)as for 䌾䋾
䋯䈲䈭䇼⧎䇽䈀ฬ䈁䋼⧎䌼(n.)flowers䋾䋯䈖䈠䇼䈖䈠䇽䈀ଥഥ䈁䋼ᒝ⺞䌼(adv.)EMPHASIS䋾䋯䉇䈬䇼ኋ䇽䈀ฬ䈁
䋼ኅደ䌼(n.)the house䋾䋯䈱䇼䈱䇽䈀ᩰഥ䈁䋼䈱䌼(prep.)'s䋾䋯䈅䉎䈛䇼ਥ䇽䈀ฬ䈁䋼ਥੱ䌼(n.)the host䋾䋯
䈭䉍䇼䈭䉍䇽䈀ഥേ䊅䊥ဳ䈁ᢿቯ䋼䌾䈪䈅䉎䌼(aux-v.)be䋾䋨䈭䉍䋽ㅪ↪ᒻ䋩䋯䈔䉍䇼䈔䉍䇽䈀ഥേ䊤ᄌဳ䈁⹗གྷ䋼
䌾䈣䈦䈢䈱䈣䈭䈄䌼(interj.)REALIZATION䋾䋨䈔䉏䋽Ꮗὼᒻଥ䉍⚿䈶䋩
[haru kite zo hito mo toi-keru yama-zato wa hana koso yado no aruji nari-kere]
䈍䈫䈝
ੱ䇱䈏䈖䈱૞⠪䈱ጊ⨿䈮᧪䉎䈱䈲䇮䈠䈱ਥੱ䉕 ⸰ 䉏䉎䈢䉄䈪䈲䈭䈒䇮⧎䉕⷗䉎䈢䉄䊶䊶䊶䈣䈏䇮䈠䉏䉕ਇᐔ
䈔䈇䈹䈧
䈏䉎㗀䈐䈏䈖䈱᱌䈮䈲䉁䉎䈪䈭䈇䊶䊶䊶䈠䉏䉅䈠䈱䈲䈝䇮૞⠪⥄り䉅䉁䈢⥄ὼ䈱᥊‛䈏㕙⊕䈇ᤨ䈮䈚䈎䈖䈱
䈇䈒䈢
ጊ⨿䉕⸰䈰䉎䈖䈫䈲䈭䈇䈱䈣䈎䉌䇯䇸⥄ὼ䈲䇮⸰䉏䉎ᐞᄙ䈱ੱ䇱䉕䉅䈩䈭䈜ਥੱᓎ䇹䈫䈇䈉䈱䈲䇮⥄ὼ‛䉇
๟࿐䈱ⅣႺ䈮ኻ䈜䉎ᣣᧄੱ䈱વ⛔⊛䈭ᗵⷡ䈪䇮䈠䈖䈮䈲⷏ᵗ䈱₺䉇ำਥ䈱䉋䈉䈭⛘ኻᡰ㈩⠪䊶ᚲ᦭⠪䈲
䈢䉂
ሽ࿷䈚䈭䈇䇯ᄤ⊞䈘䈋䉅䇮ᣣᧄ䈱᳃䈱ోຬ䈫༑䈶䉕౒䈮䈜䉎ሽ࿷䈪䈅䈦䈩䇮࿖᳃䉕ᡰ㈩䈜䉎␹䈏䈎䈦䈢
㩷
䈎䈢䉋
ำਥ䈪䈲䈭䈇䊶䊶䊶ᮭജ䊶ን䊶ੱ᳇䈫䈇䈦䈢䉅䈱䈏৻ㇱ䈮 ஍ 䈦䈩࿶ୟ⊛ᄙᢙ䈏䈖䉏䈮䈭䈶䈒ᤨઍ䈱ᣣᧄ䈲
㩷
䈢䈬
Ᏹ䈮䇮ᷙㅅ䈱㆏䉕ㄡ䈦䈩䈇䉎䇯
People come and visit the mountain villa of this author to see cherry flowers, not to meet the author as
their host. There is no blaming tone, though, because the host himself also visits his villa only when the
mountain offers him something of Natural interest. Nature being host to a host of visiting guests ȸ this
㵪Spring㵪
-30-
http//zubaraie.com
㵪ᤐ㵪
is the traditional Japanese sentiment in their relationship with Nature or their surroundings, with no
absolute ruler or owner like the Western kings or lords... even the Emperor of Japan being a co-rejoicer
of the whole Japanese folks, not their divine master… when power, wealth and fame polarize and the
majority blindly obeys them, the nation was always headed for trouble...
䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭
䃂14䃂䉒䉏䉕䈖䈠䈫䈸䈮䈉䈎䉌䉄䈲䉎䈏䈜䉂㩷 䈲䈭䈮䈧䈔䈩䉅䈢䈤䉋䉌䈯䈎䈭
ᚒ䉕䈖䈠⸰䈸䈮ᘷ䈎䉌䉄ᤐ㔰⧎䈮ઃ䈔䈩䉅┙䈤ነ䉌䈯䈎䈭
䇼ᤐ䇽[㗿ᦸ]䇺2)ᓟᠠ㓸:113䇻⹗䉂ੱ⍮䉌䈝
䈖䈱⑳䈮ળ䈇䈮᧪䉎䈱䈲᳇ਸ਼䉍䈏䈚䈭䈇䈎䉅䈚䉏䉁䈞䉖䈏䇮
䈞䉄䈩ᚒ䈏ኅ䈮ດ䈐⹶䉎᪉䈱⧎䉕⋡ᒰ䈩䈮䈪䉅䇮᧪䈩䈒䉏䉁䈞䉖䈎䋿
I may be hardly enough for you to visit here for,
My house is full of flowers, though, come see them, along with me.
䉒䉏䇼ᚒ䇽䈀ઍฬ䈁䋼⑳䌼(pron.)I, myself䋾䋯䉕䇼䉕䇽䈀ᩰഥ䈁䋼⋡⊛ᩰ䌼(prep.)OBJECT䋾䋯䈖䈠䇼䈖䈠䇽䈀ଥ
ഥ䈁䋼ㅒធ䌼(conj.)although䋾䋯䈫䈸䇼⸰䈸䇽䈀ઁ䊊྾䈁䋼⸰䉏䉎䌼(v.)visit䋾䋨䈫䈸䋽ㅪ૕ᒻ䋩䋯䈮䇼䈮䇽䈀ᩰ
ഥ䈁䋼઒ቯ䌼(conj.)if䋾䋯䈉䈚䇼ᘷ䈚䇽䈀ᒻ䉪䈁䋼᳇ਸ਼䉍䈏䈚䈭䈇䌼(adj.)reluctant䋾䋨䈉䈎䉌䋽ᧂὼᒻ䋩䋯䉃
䇼䉃䇽䈀ഥേ䊙྾ဳ䈁ផ㊂䋼䈣䉐䈉䌼(aux-v.)SUPPOSITION䋾䋨䉄䋽Ꮗὼᒻଥ䉍⚿䈶䋩䋯䈲䉎䈏䈜䉂䇼ᤐ㔰䇽
䈀ฬ䈁䋼ᤐ㔰䌼(n.)Spring haze䋾䋯䈲䈭䇼⧎䇽䈀ฬ䈁䋼⧎䌼(n.)flowers䋾䋯䈮䇼䈮䇽䈀ᩰഥ䈁䋼ኻ⽎䌼
(prep.)OBJECT䋾䋯䈧䈒䇼ઃ䈒䇽䈀ઁ䉦ਅੑ䈁䋼䈎䈖䈧䈔䉎䌼(v.)pretext䋾䋨䈧䈔䋽ㅪ↪ᒻ䋩䋯䈩䇼䈩䇽䈀ធഥ䈁
䋼⁁ᘒ䌼(conj.)while䋾䋯䉅䇼䉅䇽䈀ଥഥ䈁䋼ᗧ๧䈭䈚䌼(adv.)NO MEANING䋾䋯䈢䈤䉋䉎䇼┙䈤ነ䉎䇽䈀⥄䊤
྾䈁䋼┙䈤ነ䉎䌼(v.)stop by䋾䋨䈢䈤䉋䉌䋽ᧂὼᒻ䋩䋯䈝䇼䈝䇽䈀ഥേ․ᱶဳ䈁ᛂᶖ䋼䌾[䈚]䈭䈇䌼(adv.)not
䌾䋾䋨䈯䋽ㅪ૕ᒻ䋩䋯䈎䈭䇼䈎䈭䇽䈀⚳ഥ䈁䋼⹗གྷ䌼(interj.)EXCLAMATION䋾
[ware wo koso tou ni ukarame haru-gasumi hana ni tsuke-te-mo tachi-yora-nu kana]
䈗 䈹 䈘 䈢
䈢䉄䈇䈐
䈵䈫䉍䈗䈫
䇸㐳䉌䈒ᓮήᴕ᳸䈱⍮䉍ว䈇䈮ㅍ䈦䈢᱌䇹䈫䈘䉏䈩䈇䉎䉅䈱䈱䇮䇸ḳᕷ੤䈛䉍䈱৻ੱ⸒䇹䈫䈚䈩⡞䈇䈢䈾䈉䈏䇮
㩷
䉅䉋䈍
኎䈚䈕䈭⟤䈚䈇㗀䈐䈏ᒁ䈐┙䈧᱌䊶䊶䊶ᤐ䈱ᗵᖱ䈲ᧄ᧪䉂䉖䈭䈫৻✜䈮 ௅ 䈜䉅䈱䇮⑺䊶౻䉂䈢䈇䈮৻ੱ䈪
㩷
๧䉒䈉䉅䈱䈪䈲䈭䈇䇯
A song said to be a message to someone who hasn't visited the author for a long time. But this song will
sound more sadly beautiful as a solitary sigh… the emotion of Spring is innately gregarious, not to be
tasted all alone as in Autumn and Winter.
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶
䈋䉖䈗
䇶䈅䈦䈤ะ䈇䈩䊖䉞䋣䈫ਇᗧઃ䈒䇸✼⺆䇹䈎䈭䇷
⚦䈎䈇⺒䉂ᚻ䈭䉌䇮䈖䈱᱌䈱ਛ䈱䇸ᤐ
ᤐ㔰䇹䈏ᅱ䈮⣂⛊䈎䉌ᶋ䈇䈩ਇⷐ䈦䉀䈇䈱䈮᳇ઃ䈇䈢䈣䉐䈉䇯ታ㓙䇮䈖
䈔䉖䈅䉖
䈱⍴᱌䈱⺰ℂ⊛⸃㉼䈲䇮 ᩺䈱䇸ᤐ
ᤐ㔰䇹䉕㒰ᄖ䈚䈩ೋ䉄䈩ᚑ䉍┙䈧䈱䈪䈅䉎䊶䊶䊶䈪䈲૗᡿䈖䈱䇸ᤐ
ᤐ㔰䇹䈲䈠䈖
䈮䈅䉎䈱䈣䉐䈉䈎䋿⠨䈋ᓧ䉎╵䈋䈱৻䈧䈫䈚䈩䇮䈖䈱⍴᱌䉕ᰴ䈱䉋䈉䈮ᦠ䈐឵䈋䈩䉂䉋䈉 㵪 ᚒ䉕䈖䈠⸰䈸
䈮ᘷ䈎䉌䉄䋼ᤐ㔰䋾䋼┙䈤䋾ነ䉌䈯䈎䈭⧎䈮ઃ䈔䈩䉅 㵪 䈖䈱⺆㗅䈭䉌䇮䇸ᤐ
ᤐ㔰䇹䈲ᓟ⛯䈱േ⹖䇸┙
┙䈤䇹䈱
䉏䉖䈎䉖
䇸ᨉ⹖䋨䉁䈒䉌䈖䈫䈳䋽ᧄ╭䉕ዉ䈒೨⟎䈐⺆䋩䇹䈫䈚䈩䇸✼⺆䋨䈋䉖䈗䋽ᗧ๧਄㑐ㅪᕈ䈱䈅䉎⸒⪲䈬䈉䈚䋩䇹䈱ㅪⅣ
䈒䈘䉍
䈚䉆䈾䉖䈚䉆
䈱♻䈪䈧䈭䈏䉎䈱䈪䈅䉎䇯਄⸥䈱⺰ℂ䈱㎮䈏ᢿ䈤ಾ䉌䉏䈩䈚䉁䈦䈢ේ࿃䈲䇮䈬䈖䈎䈱ਇᵈᗧ䈭౮ᧄ⠪䈏⥄
䉄䈓
䉌䈱୘ੱ⊛ᅢ䉂䈮ᓥ䈦䈩䋨䈠䈱䉅䈢䉌䈜㕖⺰ℂ⊛Ꮻ⚿䈮ᕁ䈇䉕Ꮌ䉌䈜䈖䈫䉅䈭䈚䈮䋩䇸䈖䈦䈤䈱ᣇ䈏ਗ䈶䈏
㩷
䈚 䈇
䈇䈇䇹䈫ᗵ䈛䈩ⴕ䈭䈦䈢ᕭᗧ⊛䈭⺆㗅౉䉏ᦧ䈋䈮䉋䉎䉅䈱䇮䈫⠨䈋䈩㑆㆑䈇䈅䉎䉁䈇䇯䈖䈱⒳䈱ή⽿છ䈪り
䈍䈉䈖䈉
ൎᚻ䈭ᦠ䈐឵䈋䈱ᮮⴕ䉅ዋ䈭䈎䉌䈝ᚻવ䈦䈩䇮䇸ᨉ⹖䇹䉇䇸✼⺆䇹䈫䈇䈦䈢⍴᱌਎⇇䈱ኾ㐷↪⺆䈲䇮䈇䈎䈮
䈤䉂䈧
䉅䈦
✺ኒ䈭⎇ⓥ⠪䉕એ䈩䈚䈩䉅⺰ℂ⊛ℂ⸃ਇน⢻䈭䈾䈬䈱䈵䈬䈇ᷙੂ⁁ᘒ䋨䈅䉎䈇䈲ή⒎ᐨ⁁ᘒ䋩䈱ਛ䈻䈫
䈭䈣䉏
㔐፣䉕ᛂ䈦䈩፣უ䈚䈩䈚䉁䈦䈢䈱䈪䈅䉎䊶䊶䊶䈖䉏䉌䈱↪⺆䈮䈧䈇䈩䈲䇮৻⥸⺒⠪䈲ήⷞ䈚䈩䈍䈒䈱䈏䉋䈇䈣
䈠䈖
䉐䈉䋺䈠䈖䈮㓝䈘䉏䈢䊜䉾䉶䊷䉳䉕⺒䉂ข䉍៊䈰䈢䈫䈩䇮ᄬ䈉䉅䈱䈲䈾䈫䉖䈬䈭䈇䈱䈣䈎䉌䇯
http//zubaraie.com
-31-
㵪Spring㵪
㵪ᤐ㵪
䇶✼⺆(engo䋽associated words) will take you by surprise in unexpected contexts䇷
Meticulous readers might have found ᤐ㔰(haru-gasumi䋽Spring haze) in this poem strangely out of
context and irrelevant: in fact, this TANKA is logically understandable only when you interpret it
without ᤐ㔰(haru-gasumi) in question... why, then, is it there? As a possible answer to the question,
I'll rephrase it like this 㵪 ᚒ䉕䈖䈠⸰䈸䈮ᘷ䈎䉌䉄䋼ᤐ㔰䋾䋼┙䈤䋾ነ䉌䈯䈎䈭⧎䈮ઃ䈔䈩䉅 㵪 in
this word order, the term ᤐ㔰䋨harugasumi䋽Spring haze) will have poetic relevance to the following
verb ┙䈤(tachi䋽rise) as ᨉ⹖(makura-kotoba䋽a pillow word) in the chain of ✼⺆(engo䋽
associated words). The logical chain shown above must have been broken by some sloppy transcriber
who took the liberty of re-arranging the word order according to his/her own fancy without any
thought to the illogical consequence. Thanks largely to such irresponsible tampering, the poetic terms
of ᨉ⹖(makura-kotoba䋽pillow words, introduction to certain nouns) and ✼⺆(engo䋽associated
words) avalanched into a state of disorder (or even chaos) beyond any logical comprehension of even
the most scrutinizing scholar... ordinary readers might just as well ignore them: they'd lose very little by
missing their hidden messages.
䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭
䃂15䃂䈖䈡䈱䈲䉎䈤䉍䈮䈚䈲䈭䉅䈘䈐䈮䈔䉍㩷 䈅䈲䉏䉒䈎䉏䈱䈎䈎䉌䉁䈚䈎䈳
෰ᐕ䈱ᤐᢔ䉍䈮䈚⧎䉅ດ䈐䈮䈔䉍ຟ䉏೎䉏䈱ᣁ䈎䉌䉁䈚䈎䈳
䇼ᤐ䇽[ᘣགྷ]䇺6)⹖⧎㓸:402䇻⿒ᨴⴡ㐷䋨䈅䈎䈡䉄䈋䉅䉖䋩
෰ᐕ䈱ᤐ䈮ᢔ䈦䈢᪉䈱⧎䈲䇮੹ᐕ䉁䈢ດ䈐䉁䈚䈢䊶䊶䊶
䉄䈓
䈅䈄䇮䈅䉖䈭㘑䈮䇮৻ᐲ䈍೎䉏䈚䈢ੱ䈫䉅ౣ䈶Ꮌ䉍ળ䈋䈢䉌䇮䈬䉖䈭䈮䈎䈇䈇䈪䈚䉊䈉䈮䇯
Flowers gone last year came back again this Spring.
I wish the same with humans gone once and for all.
䈖䈡䇼ᤓᐕ䇽䈀ฬ䈁䋼෰ᐕ䌼(n.)last year䋾䋯䈱䇼䈱䇽䈀ᩰഥ䈁䋼䈱䌼(prep.)'s䋾䋯䈲䉎䇼ᤐ䇽䈀ฬ䈁䋼ᤐ䌼
(n.)Spring䋾䋯䈤䉎䇼ᢔ䉎䇽䈀⥄䊤྾䈁䋼ᢔ䉎䌼(v.)fall䋾䋨䈤䉍䋽ㅪ↪ᒻ䋩䋯䈯䇼䈯䇽䈀ഥേ䊅ᄌဳ䈁ቢੌ䋼䈜䈪
䈮䌾[䈚]䈢䌼(aux-v.)PERFECT TENSE䋾䋨䈮䋽ㅪ↪ᒻ䋩䋯䈐䇼䈐䇽䈀ഥേ․ᱶဳ䈁ㆊ෰䋼䌾[䈚]䈢䌼
(aux-v.)PAST䋾䋨䈚䋽ㅪ૕ᒻ䋩䋯䈲䈭䇼⧎䇽䈀ฬ䈁䋼⧎䌼(n.)flowers䋾䋯䉅䇼䉅䇽䈀ଥഥ䈁䋼䌾䉅䉁䈢䌼
(adv.)also䋾䋯䈘䈒䇼ດ䈒䇽䈀⥄䉦྾䈁䋼ດ䈒䌼(v.)bloom䋾䋨䈘䈐䋽ㅪ↪ᒻ䋩䋯䈯䇼䈯䇽䈀ഥേ䊅ᄌဳ䈁ቢੌ䋼䈜
䈪䈮䌾[䈚]䈢䌼(aux-v.)PERFECT TENSE䋾䋨䈮䋽ㅪ↪ᒻ䋩䋯䈔䉍䇼䈔䉍䇽䈀ഥേ䊤ᄌဳ䈁ㆊ෰䋼䌾[䈚]䈢䌼
(aux-v.)PAST䋾䋨䈔䉍䋽⚳ᱛᒻ䋩䋯䈅䈲䉏䇼䈅䈲䉏䇽䈀ᗵ䈁䋼䈅䈄ᱷᔨ䌼(n.)a pity䋾䋯䉒䈎䉏䇼೎䉏䇽䈀ฬ䈁䋼
೎䉏䌼(n.)parting䋾䋯䈱䇼䈱䇽䈀ᩰഥ䈁䋼ਥᩰ䌼(prep.)SUBJECT䋾䋯䈎䈎䉍䇼ᣁ䈎䉍䇽䈀⥄䊤ᄌ䈁䋼䈖䈱䉋䈉䈭
䌼(v.)be like this䋾䋨䈎䈎䉌䋽ᧂὼᒻ䋩䋯䉁䈚䇼䉁䈚䇽䈀ഥേ․ᱶဳ䈁ផ㊂䋼䈣䈦䈢䉌䈇䈇䈱䈮䌼(aux-v.)I
wish䋾䋨䉁䈚䈎䋽ᧂὼᒻ䋩䋯䈳䇼䈳䇽䈀ធഥ䈁䋼઒ቯ䌼(conj.)if䋾
[kozo no haru chiri-ni-shi hana mo saki-ni-keri aware wakare no kakara-mashi-kaba]
᪉䈱⧎䈲䇮ດ䈒䈢䈶䈮䇮䈎䈧䈩䈲䈅䈦䈩੹䈲䈭䈇䉅䈱䉕⑳䈢䈤䈮ᕁ䈇⿠䈖䈘䈞䉁䈜䊶䊶䊶䈤䈭䉂䈮䈖䈱᱌ੱ䇮
㩷
೨ᐕ䈮ᄦ䉕ᄬ䈦䈩䈇䉁䈜䊶䊶䊶ᗲ䊶෹䊶⧯䈘䇮૗䈪䈅䉏ੱ䈏䈵䈫䈢䈶ᄬ䈦䈢䉅䈱䈲ੑᐲ䈫ᚯ䈦䈩䈲䈐䉁䈞䉖䇯Ფ
䈲䈎䈭
䉉䈋
ᐕᲤᐕᚯ䈦䈩᧪䉎ᤐ䈱․ᕈ䈲䇮ᚒ䇱䈱 ఓ 䈇䋨䈏᡿䈮䈎䈔䈏䈋䈱䈭䈇䋩ੱ↢䉕ቯᦼ⊛䈮ᕁ䈇⍮䉌䈞䉎
㩷
䉋䈜䈏䈭䈱䈪䈜䇯
Whenever it comes again, cherry blossom reminds us of what we used to have but have now lost.
Incidentally, this poet lost her husband in the previous year. Whatever you have lost ȸ love, friends or
youth ȸ is lost beyond recovery: the reciprocal nature of Spring is the periodical reminder of the
pettiness (therefore, preciousness) of our fleeting life.
㵪Spring㵪
-32-
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㵪ᤐ㵪
䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶䊶
䇶ᧄᒰ䈱ฬ䈲ੱ⍮䉏䈯䇸ᅚᵹ᱌ੱ䇹䇷
䉋
䈅䈎䈡䉄䋾䈱䉅䈤䈫䈐䋩䈱ᆷ䈪䈍ῳ䈘䉖䈱
䈖䈱⍴᱌䈱⹗䉂ᚻ䈲⿒ᨴⴡ㐷䈫๭䈳䉏䉎ੱ䈪䇮⿒ᨴ↪ᤨ䋨䋼䈅
㩷
䈋䉅䉖䋾䈱䈛䉊䈉䋩䇹䈫䈇䈉䈖䈫䈪ઃ䈇䈢䈅䈣ฬ䈏䇸⿒
⿒ᨴⴡ㐷䇹䊶䊶䊶䇸౬⺣䈪䈚䉊䋿䇹䈫
ቭ⡯䈲䇸ฝⴡ㐷ዄ䋨䈉䋼䈋
㩷
⸒䉒䉏䈠䈉䈣䈔䈬䇮䈖䉏䈏䊖䊮䊃䈱⹤䈪䇮ᐔ቟ᤨઍ䈱ᅚᕈ䈲৻⥸䈮䇸ᧄฬ䇹䈪਎㑆䈮⍮䉌䉏䉎䈖䈫䈲䈭䈎䈦
䈢䈱䈪䈜䇯䉅䈤䉐䉖ᅚᕈ䈮䈣䈦䈩䇸ᧄฬ䇹䈲䈅䈦䈢䈔䈬䇮䈠䉏䉕⍮䉍䇮䈠䈱ฬ䈪ᓐᅚ䉕๭䈹䈖䈫䈏䈪䈐䈢䈱䈲䇮
ᓐᅚ䈫․೎ⷫ䈚䈇㑐ଥ䋨䈅䉎䈇䈲⡺૕㑐ଥ䋩䈮䈅䈦䈢ੱ䈣䈔䇯䇸⸒㔤䋨䈖䈫䈣䉁䋽䈅䉌䉉䉎⺆䉇ฬ䈮ኋ䉎࿕᦭
䈱㝬䋩䇹䈱ሽ࿷䈏ା䈛䉌䉏䈩䈇䈢ᤨઍ䈮䈲䇮ੱ䈱ฬ೨䉕䈛䈎䈮ญ䈮䈚䈩䉅⸵䈘䉏䉎䈱䈲䇮䈠䈱ੱ䉕ᡰ㈩䈜䉎
┙႐䈮り䉕⟎䈒ੱ䈣䈔䋨ᅚᕈ䈱႐ว䈲䇮ᕜੱ䈎ᄦ䈣䈔䋩䈫䈇䈉䈱䈏᳿䉁䉍੐䈣䈦䈢䈱䈪䈜䇯੹ᣣ䈪䉅䈭䈍䇮
䉁䉒
Ꮌᩏ䇹䈫䈇䈦䈢␠ળ⊛┙႐䈪ઁੱ䈮๭䈶ដ䈔
ᣣᧄੱ䈲䇸ਔ
ਔ䈘䉖䇮ਔ
ਔ䈤䉆䉖䇹䈫䈇䈦䈢䈅䈣ฬ䉇䇸䈍
䈍Ꮌ䉍䈘䉖䇮Ꮌ
䉍䉊䈉䈧
䈎䉖䈐䈤
ൊศ䇹䈭䈬䈫ᧄฬ䉕䈛䈎䈮๭䈹䈱䉕ህ䈇䉁䈜䇯ᧄฬ䈪๭䈳䉏䈢ᤨ䈱ᣣᧄੱ䋨․䈮ᅚᕈ䋩
䉎䈱䉕ᅢ䉂䇮䇸ਔ
ਔᵤ䇮ൊ
䈱෻ᔕ䈲ੑ䈧䈮৻䈧 㵪 ⥄䉌䈱㝬䈱ᩭ䈱ㇱಽ䈮⸅䉏䉌䉏䈢᳇䈏䈚䈩䈠䈱⋧ᚻ䈮ⷫㄭᗵ䉕ᛴ䈒䈎䇮䈅䉎䈇
䈝䈉䈝䈉
䈲䇮⥄ಽ䈱♖␹䈮ㆊᐲ䈱ᓇ㗀ജ䉕ⴕ૶䈜䉎ᗧ࿑䉕䉅䈦䈩࿑䇱䈚䈒䉅⥄ಽ䈱ฬ䉕๭䈶ᝥ䈩䈮䈚䈢⋧ᚻ䈮ኻ䈚
䉅䉋䈍
䉄䈦䈢
෻ᗵ䉕 ௅ 䈜䈎 㵪 䈣䈎䉌䈖䈠䇮ᩮ䈦䈎䉌䈱ᣣᧄੱ䈲ઁੱ䈱ᧄฬ䈭䉖䈩Ṍᄙ䈮ญ䈮䈚䈭䈇䈱䈪䈜䊶䊶䊶䈏䇮
䈣䈎䉌䈖䈠䉁䈢䇮⧷⺆䋨䋽ઁੱ䉕ᧄฬ䈪๭䈹⸒⺆䋩䉕⹤䈜ᄖ࿖ੱ䈏䇮৻⷗䉋䈠䉋䈠䈚䈕䈭ᣣᧄੱ䋨․䈮䇮
㩷
⧯䈇ᅚᕈ䋣䋩䈫ⷫ䈚䈕䈭㑐ଥ䋨䈅䉎䈇䈲䇮䈰䉖䈗䉐䈭㑐ଥ䋣䋩䈮䈭䉎䈱䈏䈶䈦䈒䉍䈜䉎䈾䈬◲න䈣䈦䈢䉍䉅
㩷
䈜䉎䉒䈔䈪䈜䋺䈣䈦䈩䇮䈗䈒⥄ὼ䈮䇸ᧄฬ䇹䈪๭䈶ដ䈔䉎䈖䈫䈪ᓐ䉌䈱䇸㝬䈱ᩭ䇹䈮䈛䈎䈮⸅䉏䈤䉆䈉䈖䈫䈏
㩷
䉇䈒䈫䈒
䈪䈐䉎䈱䈏⧷⺆ੱ⒳䈱ᓎᓧ䈭䈱䈣䈎䉌䊶䊶䊶䈄䇮䉧䉟䉳䊮䈘䉖䇮䈖䉏䇮ੂ↪䈚䈤䉆䉻䊜䈪䈜䉋䊶䊶䊶䈠䉏䈫䇮૗䉅
㩷
⍮䉌䈭䈇ᣣᧄ䈱䋨․䈮ᅚᕈ䈱䋩䉂䈭䈘䉖䇮਄⸥䈱੐ᖱ䇮䈬䈉䈡චಽᓮ⥄ⷡ䈱਄䇮ᓮ↪ᔃㆆ䈳䈞䇯
䇶who ever knows the true name of a woman poet?䇷
The author of this TANKA was called ⿒ᨴⴡ㐷(Akazome emon): she was the daughter of ⿒ᨴ↪ᤨ
ⴡ㐷ዄ(u-emon no jou), hence her nickname
(Akazome-no-Mochitoki) whose official position was ฝⴡ
⿒ᨴⴡ㐷(Akazome emon). No kidding, you may say, but it's no joke: a woman in the Heian era was not
known to the public by her real name. She had her own name, all right, but it was only those especially
familiar (or intimate) with her that knew and called her by the real name. Belief in ⸒㔤(kotodama䋽
spirit inherent in any word or name) dictated that the direct mention of someone's name be granted
only to those in the position to govern that someone 㵪 in the case of a woman, her lover or husband.
Even today, the Japanese prefer calling others by their nicknames (ਔ䈘䉖:Ryou-san, ਔ䈤䉆䉖䋺
Ryou-chan) or social positions (䈍Ꮌ䉍䈘䉖䋺omawari-san, Ꮌᩏ䋺junsa) to directly calling their real
names (ਔᵤ䋺Ryoutsu, ൊศ䋺Kankichi). When called by the real name, the Japanese (especially,
women) feel either attracted to the name-caller for touching them at the core of their spiritual existence,
or repugnant to having their names called by someone not entitled to do so with conscious intent to
exert undue influence on their soul ȸ that is why native Japanese rarely call others by their names...
which is also the reason why English-speaking ȸ and real-name-calling ȸ foreigners find it
INCREDIBLY easy to be on friendly (or even intimate) terms with the apparently distant Japanese
(especially, young women!) by quite naturally calling them by the name and directly touching the core
of their soul... please don't abuse it, foreigners, and be well-aware and beware, ignorant Japanese
(especially, women)!
䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭䋭
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-33-
㵪Spring㵪
ฦฏ⚝ᒁ㩷 㵪䈅㵪
䇶৻䊶ੑ䊶ਃ䊶྾䊶੖㩷 ฦฏ䊕䊷䉳⚝ᒁ䇷
㩷 㩷 㩷 㩷 㩷 㩷 㩷 㩷 㩷 㵪㩷 䈅㩷 㵪
䈅䈎䈧䈐䈳䈎䉍[᱌ 131䋺྾]ჼ↢ᔘጙ䋨㓸
1䋺ฎ੹䋩 130
䈅䈎䈪䈖䈠[᱌126䋺৻]⹗䉂ੱ⍮䉌䈝䋨㓸
1䋺ฎ੹䋩 126
䈅䈎䈭䈒䈮[᱌ 56䋺৻]࿷ේᬺᐔ䋨㓸 1䋺ฎ
੹䋩 67
䈅䈎䈯䈖䈖䉐䈲[᱌ 22䋺྾]⮮ේర⌀䋨㓸
6䋺⹖⧎䋩 38
䈅䈎䈯䉒䈎䉏䈱[᱌130䋺྾]⍹ᷡ᳓೎ᒰ
శᷡᅚ䋨㓸 8䋺ᣂฎ੹䋩 129
䈅䈐䈎䈟䈮[᱌75䋺৻]⮮ේ㗼テ䋨㓸8䋺ᣂ
ฎ੹䋩 85
䈅䈐䈎䈟䈮[᱌ 95䋺৻]⹗䉂ੱ⍮䉌䈝䋨㓸
1䋺ฎ੹䋩 101
䈅䈐䈐䈯䈫[᱌ 65䋺৻]⮮ේᢅⴕ䋨㓸 1䋺ฎ
੹䋩 76
䈅䈐䈒䉏䈬[᱌ 85䋺৻]ဈ਄ᤚೣ䋨㓸 1䋺ฎ
੹䋩 93
䈅䈐䈡䈎䈭䈚䈐[᱌ 87䋺ੑ]⹗䉂ੱ⍮䉌䈝
䋨㓸 1䋺ฎ੹䋩 95
䈅䈐䈡䉁䈘䉏䉎[᱌ 83䋺੖]⹗䉂ੱ⍮䉌䈝
䋨㓸 3䋺ᜪㆮ䋩 91
䈅䈐䈤䈎䈐[᱌ 60䋺৻]⮮ේ䋨਻᧦䋩 ⦟⚻
䋨㓸 8䋺ᣂฎ੹䋩 71
䈅䈐䈫䈧䈕䈧䉎[᱌ 68䋺྾]⹗䉂ੱ⍮䉌䈝
䋨㓸 2䋺ᓟᠠ䋩 78
䈅䈐䈮䈲䈅䉌䈰䈬[᱌ 74䋺੖]ᄢᳯජ㉿
䋨㓸 1䋺ฎ੹䋩 83
䈅䈐䈮䉁䈢[᱌ 80䋺৻]ਃ᧦㒮䋨㓸 6䋺⹖
⧎䋩 88
䈅䈐䈱䈉䈤䈲[᱌ 96䋺৻]⮮ේᢎ㐳䋨㓸 7䋺
ජタ䋩 103
䈅䈐䈱䉉䈸䈓䉏[᱌89䋺੖]⦟᥻䋨㓸4䋺ᓟ
ᜪㆮ䋩 96
䈅䈐䈱䉉䈸䈓䉏[᱌90䋺੖]኎⬒䋨㓸8䋺ᣂ
ฎ੹䋩 97
䈅䈐䈱䉉䈸䈓䉏[᱌ 91䋺੖]኎⬒䋨㓸 8䋺ᣂ
ฎ੹䋩 98
䈅䈐䈱䉉䈸䈓䉏[᱌ 92䋺੖]⮮ේቯኅ䋨㓸
8䋺ᣂฎ੹䋩 98
䈅䈐䈱䉉䈸䈼䈲[᱌ 70䋺྾]⹗䉂ੱ⍮䉌
䈝䋨㓸 1䋺ฎ੹䋩 80
䈅䈐䈱䉋䈱[᱌ 72䋺ਃ]⹗䉂ੱ⍮䉌䈝䋨㓸
3䋺ᜪㆮ䋩 81
䈅䈐䈱䉋䈱[᱌ 78䋺ਃ]⮮ේኅᚑ䋨㓸 6䋺⹖
⧎䋩 87
䈅䈐䈱䉋䈱䈧䈐[᱌ 199䋺੖]⮮ේ㓉ᚑ䋨㓸
4䋺ᓟᜪㆮ䋩 192
䈅䈐䈱䉋䈱䈧䈐[᱌ 71䋺੖]⮮ේၮశ䋨㓸
5䋺㊄⪲䋩 80
䈅䈐䈱䉋䈱䈧䈐[᱌ 76䋺੖]⹗䉂ੱ⍮䉌䈝
䋨㓸 1䋺ฎ੹䋩 85
䈅䈐䈱䉋䈱䈧䈐[᱌ 81䋺੖]ᕺᘮ䋨㓸 4䋺ᓟ
ᜪㆮ䋩 89
䈅䈐䈲䈎䈭䈚䈐[᱌ 94䋺੖]⹗䉂ੱ⍮䉌䈝
䋨㓸 1䋺ฎ੹䋩 100
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䈅䈐䈲䈐䈮䈔䉍[᱌ 66䋺੖]⹗䉂ੱ⍮䉌䈝
䋨㓸 1䋺ฎ੹䋩 76
䈅䈐䈲䈐䈮䈔䉍[᱌ 67䋺੖]ᕺᘮ䋨㓸 3䋺ᜪ
ㆮ䋩 77
䈅䈐䈲䈐䈯[᱌ 88䋺৻]⹗䉂ੱ⍮䉌䈝䋨㓸
1䋺ฎ੹䋩 96
䈅䈐䉇䈲䈵䈫䈱[᱌ 186䋺ੑ]ჼ↢ᔘጙ
䋨㓸 1䋺ฎ੹䋩 182
䈅䈒䈏䉏䈇䈨䉎[᱌ 52䋺྾]๺ᴰᑼㇱ䋨㓸
4䋺ᓟᜪㆮ䋩 64
䈅䈔䈒䉏䈩[᱌ 101䋺ਃ]Ḯ࿖ା䋨㓸 5䋺㊄
⪲䋩 107
䈅䈔䈯䉎䉕[᱌ 57䋺ਃ]ᷡේᷓ㙃ῳ䋨㓸 1䋺
ฎ੹䋩 67
䈅䈔䉇䉌䈪[᱌ 137䋺ਃ]ବᕺ䋨㓸 7䋺ජタ䋩
134
䈅䈘䈏䈾䉕[᱌ 61䋺৻]⮮ේ㆏ା䋨㓸 3䋺ᜪ
ㆮ䋩 72
䈅䈘䈥䈲䉌[᱌ 35䋺৻]ᕺᘮ䋨㓸 3䋺ᜪㆮ䋩
50
䈅䈘䈿䉌䈔[᱌105䋺৻]ဈ਄ᤚೣ䋨㓸1䋺ฎ
੹䋩 110
䈅䈘䈿䉌䈔[᱌ 196䋺ਃ]ᴕᒎḩ⹿䋨㓸 3䋺
ᜪㆮ䋩 190
䈅䈘䈿䉌䈔[᱌ 99䋺৻]⮮ේቯ㗬䋨㓸 7䋺ජ
タ䋩 105
䈅䈚䈵䈐䈱[᱌ 142䋺৻]ᩑᧄੱ㤗ํ䋨㓸
3䋺ᜪㆮ䋩 141
䈅䈣䈚䈗䈖䉐䉕[᱌ 133䋺ੑ]⹗䉂ੱ⍮䉌
䈝䋨㓸 1䋺ฎ੹䋩 132
䈅䈣䉅䈱䉕[᱌ 119䋺ਃ]♿෹ೣ䋨㓸 1䋺ฎ
੹䋩 120
䈅䈧䉄䈚䉅䈱䉕[᱌ 49䋺ੑ]⮮ේቄㅢ䋨㓸
7䋺ජタ䋩 62
䈅䈫䈣䈮䈇䉁䈣[᱌158䋺ੑ]࿷ේᬺᐔ䋨㓸
8䋺ᣂฎ੹䋩 156
䈅䈫䈱䈚䉌䈭䉂[᱌ 196䋺੖]ᴕᒎḩ⹿䋨㓸
3䋺ᜪㆮ䋩 190
䈅䈫䉅䈭䈚[᱌ 34䋺ਃ]⮮ේቯኅ䋨㓸 8䋺ᣂ
ฎ੹䋩 47
䈅䈲䈙䉍䈚[᱌ 123䋺৻]⹗䉂ੱ⍮䉌䈝䋨㓸
2䋺ᓟᠠ䋩 124
䈅䈲䈪䉅䈭䈕䈒[᱌ 58䋺ੑ]⹗䉂ੱ⍮䉌䈝
䋨㓸 3䋺ᜪㆮ䋩 68
䈅䈲䉃䈅䈲䈛䉅[᱌80䋺ੑ]ਃ᧦㒮䋨㓸6䋺
⹖⧎䋩 88
䈅䈲䉃䈫䈡䈍䉅䈸[᱌ 117䋺੖]ፏᓼ㒮䋨㓸
6䋺⹖⧎䋩 118
䈅䈲䉃䈫䈡䈍䉅䈸[᱌ 145䋺੖]ర⦟ⷫ₺
䋨㓸 2䋺ᓟᠠ䋩 144
䈅䈲䉏䈚䉌䈞䈚[᱌ 96䋺ੑ]⮮ේᢎ㐳䋨㓸
7䋺ජタ䋩 103
䈅䈲䉏䈫䈇䈲䉃[᱌ 147䋺ੑ]⮮ේᚑㅢ
䋨㓸 6䋺⹖⧎䋩 146
䈅䈲䉏䈫䈍䉅䈻[᱌ 24䋺ੑ]ⴕዅ䋨㓸 5䋺㊄
⪲䋩 39
䈅䈲䉏䉒䈎䉏䈱[᱌ 15䋺྾]⿒ᨴⴡ㐷䋨㓸
6䋺⹖⧎䋩 32
㩷 㩷 㩷 -195-
䈅䈲䉏䉒䈎䉏䈲[᱌ 174䋺྾]⩲ේ⾗ᔘ
䋨㓸 5䋺㊄⪲䋩 172
䈅䈵䈮䈔䉎䈎䈭[᱌ 102䋺੖]⮮ේବᚑ
䋨㓸 8䋺ᣂฎ੹䋩 108
䈅䈵䈯䉌䉃[᱌ 40䋺ਃ]⮮ේቯᚑ䋨㓸 5䋺
㊄⪲䋩 54
䈅䈵䉂䈚䉋䈲䈱[᱌ 168䋺ੑ]ᓼᄢኹታ⢻
䋨㓸 5䋺㊄⪲䋩 166
䈅䈵䉂䈚䉕[᱌ 169䋺৻]㆏๮䋨㓸 4䋺ᓟᜪ
ㆮ䋩 166
䈅䈵䉂䈜䈭[᱌ 114䋺ਃ]⹗䉂ੱ⍮䉌䈝
䋨㓸 3䋺ᜪㆮ䋩 116
䈅䈵䉂䈩䈱[᱌ 122䋺৻]⮮ේᢕᔘ䋨㓸 3䋺
ᜪㆮ䋩 122
䈅䈵䉂䈩䈲[᱌ 120䋺৻]⹗䉂ੱ⍮䉌䈝
䋨㓸 3䋺ᜪㆮ䋩 121
䈅䈵䉂䈩䉅[᱌ 127䋺ਃ]Ḯⴕቬ䋨㓸 5䋺㊄
⪲䋩 127
䈅䈵䉂䈩䉅[᱌ 58䋺৻]⹗䉂ੱ⍮䉌䈝䋨㓸
3䋺ᜪㆮ䋩 68
䈅䈵䉂䉃䈖䈫䈲[᱌ 26䋺྾]⹗䉂ੱ⍮䉌
䈝䋨㓸 1䋺ฎ੹䋩 40
䈅䈸䈖䈫䈱[᱌ 160䋺৻]⮮ේᦺᔘ䋨㓸 3䋺
ᜪㆮ䋩 158
䈅䈸䈖䈫䈱[᱌ 47䋺৻]⮮ේ᳗⋧ᅚ䋨㓸 5䋺
㊄⪲䋩 60
䈅䈸䈘䈎䈱䈞䈐[᱌ 175䋺੖]ⱻਣ䋨㓸 2䋺
ᓟᠠ䋩 172
䈅䈸䈮䈚䈎䈻䈳[᱌ 119䋺྾]♿෹ೣ䋨㓸
1䋺ฎ੹䋩 120
䈅䈸䉁䈪䈖䈠䈲[᱌154䋺྾]⮮ේኅㅢ䋨㓸
7䋺ජタ䋩 152
䈅䈻䈝䈤䉍䈯䉎[᱌ 95䋺ੑ]⹗䉂ੱ⍮䉌䈝
䋨㓸 1䋺ฎ੹䋩 101
䈅䉁䈱䈧䉍䈹䈰[᱌177䋺੖]ዊ㊁▶䋨㓸1䋺
ฎ੹䋩 174
䈅䉁䈱䈲䉌[᱌179䋺৻]቟ㇱખ㤚䋨㓸1䋺ฎ
੹䋩 176
䈅䉄䈲䈸䉍䈐䈯[᱌23䋺ੑ]⹗䉂ੱ⍮䉌䈝
䋨㓸 3䋺ᜪㆮ䋩 39
䈅䉇䈚䈎䉍䈔䉍[᱌ 70䋺੖]⹗䉂ੱ⍮䉌䈝
䋨㓸 1䋺ฎ੹䋩 80
䈅䉇䉄䈓䈘[᱌ 47䋺ਃ]⮮ේ᳗⋧ᅚ䋨㓸 5䋺
㊄⪲䋩 60
䈅䉌䈪䈉䈐䉋䈮[᱌ 79䋺ੑ]ਃ᧦㒮䋨㓸 4䋺
ᓟᜪㆮ䋩 87
䈅䉌䈰䈬䉅[᱌ 193䋺ਃ]⮮ේ౗テ䋨㓸 2䋺
ᓟᠠ䋩 188
䈅䉌䈰䈬䉅[᱌ 70䋺ਃ]⹗䉂ੱ⍮䉌䈝䋨㓸
1䋺ฎ੹䋩 80
䈅䉌䈲䉏䉒䈢䉎[᱌ 99䋺྾]⮮ේቯ㗬䋨㓸
7䋺ජタ䋩 105
䈅䉌䉁䈚䉅䈱䉕[᱌ 162䋺੖]⹗䉂ੱ⍮䉌䈝
䋨㓸 1䋺ฎ੹䋩 160
䈅䉍䈅䈔䈱[᱌ 131䋺৻]ჼ↢ᔘጙ䋨㓸 1䋺ฎ
੹䋩 130
䈅䉍䈅䈔䈱䈧䈐䈫[᱌ 105䋺ੑ]ဈ਄ᤚೣ
䋨㓸 1䋺ฎ੹䋩 110
㩷 㩷 㩷 㩷 㩷 㩷 㩷 㩷 㩷 㩷 ฦฏ⚝ᒁ㩷 㵪䈅㵪
ฦฏ⚝ᒁ㩷 㵪䈅㵪㩷 㵪䈇㵪㩷 㵪䈉㵪
䈅䉍䈚䉋䉇䉉䉄[᱌ 194䋺੖]ᄢᳯආⴧ䋨㓸
8䋺ᣂฎ੹䋩 189
䈅䉍䈚䉋䉍䈔䈮[᱌ 164䋺྾]⹗䉂ੱ⍮䉌䈝
䋨㓸 1䋺ฎ੹䋩 162
䈅䉍䈫䉇䈖䈖䈮[᱌ 3䋺྾]⹗䉂ੱ⍮䉌䈝
䋨㓸 1䋺ฎ੹䋩 18
䈅䉍䈭䉄䈬[᱌ 26䋺ਃ]⹗䉂ੱ⍮䉌䈝䋨㓸
1䋺ฎ੹䋩 40
䈅䉎䈛䈭䈚䈫䈩[᱌ 5䋺྾]⩲ේ㆏⌀䋨㓸 3䋺
ᜪㆮ䋩 21
䈅䉎䈛䈭䉍䈔䉏[᱌ 13䋺੖]⮮ේ౏છ䋨㓸
3䋺ᜪㆮ䋩 30
䈅䉎䈫䈐䈲[᱌ 111䋺ਃ]⹗䉂ੱ⍮䉌䈝䋨㓸
3䋺ᜪㆮ䋩 114
䈅䉎䉅䈱䉕[᱌ 156䋺ਃ]⋧ᮨ䋨㓸 4䋺ᓟᜪ
ㆮ䋩 154
䈅䉎䉅䈱䉕[᱌ 173䋺ਃ]㆏࿃䋨⮮ේᢕ㗬䋩
䋨㓸 7䋺ජタ䋩 171
䈅䉎䉕䉂䉎䈣䈮[᱌186䋺྾]ჼ↢ᔘጙ䋨㓸
1䋺ฎ੹䋩 182
䈅䉏䈳䈡䉂䈧䉎[᱌ 199䋺྾]⮮ේ㓉ᚑ
䋨㓸 4䋺ᓟᜪㆮ䋩 192
㩷 㩷 㩷 㩷 㩷 㩷 㩷 㩷 㩷 㵪㩷 䈇㩷 㵪
䈇䈎䈏䈞䉃[᱌ 106䋺ਃ]๺ᴰᑼㇱ䋨㓸 5䋺
㊄⪲䋩 111
䈇䈎䈏䉂䉎䉌䉃[᱌ 18䋺੖]⮮ේၮ㐳䋨㓸
7䋺ජタ䋩 35
䈇䈎䈪䈎䈫[᱌ 111䋺৻]⹗䉂ੱ⍮䉌䈝䋨㓸
3䋺ᜪㆮ䋩 114
䈇䈎䈳䈎䉍[᱌ 134䋺ਃ]⹗䉂ੱ⍮䉌䈝
䋨㓸 1䋺ฎ੹䋩 132
䈇䈒䈎䈻䉍[᱌ 40䋺৻]⮮ේቯᚑ䋨㓸 5䋺㊄
⪲䋩 54
䈇䈔䈱䈖䈾䉍䈮[᱌ 103䋺ੑ]⮮ේବᚑ䋨㓸
8䋺ᣂฎ੹䋩 109
䈇䈢䈨䉌䈮[᱌28䋺ਃ]ዊ㊁ዊ↸䋨㓸1䋺ฎ
੹䋩 42
䈇䈧䈎䈖䈖䉐䈱[᱌58䋺྾]⹗䉂ੱ⍮䉌䈝
䋨㓸 3䋺ᜪㆮ䋩 68
䈇䈨䈒䈮䉅[᱌ 77䋺৻]⮮ේᔘᢎ䋨㓸 5䋺㊄
⪲䋩 86
䈇䈨䈖䉅䈍䈭䈛[᱌ 89䋺྾]⦟᥻䋨㓸 4䋺ᓟ
ᜪㆮ䋩 96
䈇䈨䈤䉉䈒䉌䉃[᱌ 181䋺੖]ಠᴡౝるᕡ
䋨㓸 1䋺ฎ੹䋩 178
䈇䈧䈫䈩䉅[᱌ 70䋺৻]⹗䉂ੱ⍮䉌䈝䋨㓸
1䋺ฎ੹䋩 80
䈇䈧䈲䉍䈫[᱌ 135䋺৻]⹗䉂ੱ⍮䉌䈝䋨㓸
1䋺ฎ੹䋩 133
䈇䈧䈲䉍䈱[᱌ 134䋺৻]⹗䉂ੱ⍮䉌䈝
䋨㓸 1䋺ฎ੹䋩 132
䈇䈧䉁䈪䉋䈠䈮[᱌ 188䋺྾]ᷡᤘ䋨㓸 6䋺
⹖⧎䋩 183
䈇䈨䉏䉕䈉䉄䈫[᱌ 1䋺྾]♿෹ೣ䋨㓸 1䋺ฎ
੹䋩 16
䈇䈪䈚䈧䈐䈎䉅[᱌ 179䋺੖]቟ㇱખ㤚䋨㓸
1䋺ฎ੹䋩 176
䈇䈪䈩䈇䈮䈚[᱌ 158䋺৻]࿷ේᬺᐔ䋨㓸
8䋺ᣂฎ੹䋩 156
ฦฏ⚝ᒁ㩷 㵪䈅㵪㩷 㵪䈇㵪㩷 㵪䈉㵪㩷 㩷
䈇䈫䈬䈚䈒[᱌ 68䋺৻]⹗䉂ੱ⍮䉌䈝䋨㓸
2䋺ᓟᠠ䋩 78
䈇䈫䈵䈚䉂䈖䈠[᱌ 199䋺ੑ]⮮ේ㓉ᚑ䋨㓸
4䋺ᓟᜪㆮ䋩 192
䈇䈫䈵䈩䉅[᱌ 185䋺৻]⮮ේቄㅢ䋨㓸 6䋺
⹖⧎䋩 181
䈇䈫䈻䈢䈣[᱌ 167䋺ਃ]⮮ේବᚑ䋨㓸 8䋺
ᣂฎ੹䋩 164
䈇䈫䈻䈫䈡䈍䉅䈸[᱌ 147䋺੖]⮮ේᚑㅢ
䋨㓸 6䋺⹖⧎䋩 146
䈇䈭䈳䈱䉇䉁䈱[᱌ 176䋺ੑ]࿷ේⴕᐔ
䋨㓸 1䋺ฎ੹䋩 173
䈇䈮䈚䈻䈮[᱌18䋺৻]⮮ේၮ㐳䋨㓸7䋺ජ
タ䋩 35
䈇䈮䈚䈻䈲[᱌ 36䋺৻]⮮ේદዣ䋨㓸 3䋺
ᜪㆮ䋩 50
䈇䈱䈤䈘䈻[᱌ 128䋺ਃ]⮮ේ⟵ቁ䋨㓸 4䋺
ᓟᜪㆮ䋩 128
䈇䈱䈤䈫䉅䈏䈭[᱌ 129䋺੖]⮮ේદ๟Უ
㜞㓏⾆ሶ䋨㓸 8䋺ᣂฎ੹䋩 128
䈇䈱䈤䈫䉅䈏䈭[᱌ 192䋺੖]⮮ේታᣇ䋨㓸
4䋺ᓟᜪㆮ䋩 187
䈇䈱䈤䈭䉍䈔䉍[᱌ 26䋺੖]⹗䉂ੱ⍮䉌䈝
䋨㓸 1䋺ฎ੹䋩 40
䈇䈱䈤䉇䈲[᱌ 119䋺৻]♿෹ೣ䋨㓸 1䋺ฎ
੹䋩 120
䈇䈱䈤䉕䈚[᱌ 152䋺৻]ታḮ䋨㓸 5䋺㊄⪲䋩
149
䈇䈲䈉䈧䈭䉂䈱[᱌ 116䋺ੑ]Ḯ㊀ਯ䋨㓸
6䋺⹖⧎䋩 117
䈇䈲䈢䈢䈒[᱌ 53䋺৻]⮮ේᢎ㐳䋨㓸 7䋺ජ
タ䋩 65
䈇䈲䈮䈞䈎䉎䉎[᱌ 117䋺ੑ]ፏᓼ㒮䋨㓸
6䋺⹖⧎䋩 118
䈇䈲䈳䈖䈖䉐䈱[᱌ 108䋺ੑ]ㄭⴡ㒮䋨㓸
8䋺ᣂฎ੹䋩 112
䈇䈲䉅䉎䈚䉂䈨[᱌ 54䋺ੑ]ᘏ౞䋨㓸 7䋺ජ
タ䋩 65
䈇䈸䈳䈎䉍䈮䉇[᱌ 8䋺ੑ]ჼ↢ᔘጙ䋨㓸
3䋺ᜪㆮ䋩 23
䈇䈸䉋䈚䉅䈏䈭[᱌ 146䋺੖]⮮ේ㆏㓷䋨㓸
4䋺ᓟᜪㆮ䋩 145
䈇䉁䈎䈻䉍䈖䉃[᱌ 176䋺੖]࿷ේⴕᐔ䋨㓸
1䋺ฎ੹䋩 173
䈇䉁䈘䉌䈮[᱌ 135䋺ਃ]⹗䉂ੱ⍮䉌䈝䋨㓸
1䋺ฎ੹䋩 133
䈇䉁䈲䈅䈢䈭䉏[᱌ 162䋺ੑ]⹗䉂ੱ⍮䉌
䈝䋨㓸 1䋺ฎ੹䋩 160
䈇䉁䈲䈖䈵䈚䈐[᱌ 198䋺੖]⮮ේᷡテ䋨㓸
8䋺ᣂฎ੹䋩 192
䈇䉁䈲䈢䈍䈭䈛[᱌ 145䋺ੑ]ర⦟ⷫ₺
䋨㓸 2䋺ᓟᠠ䋩 144
䈇䉁䈲䈢䈣[᱌ 146䋺৻]⮮ේ㆏㓷䋨㓸 4䋺
ᓟᜪㆮ䋩 145
䈇䉁䈲䈢䈣[᱌ 170䋺৻]๺ᴰᑼㇱ䋨㓸 4䋺
ᓟᜪㆮ䋩 168
䈇䉁䈲䈭䉎䉌䉃[᱌158䋺੖]࿷ේᬺᐔ䋨㓸
8䋺ᣂฎ੹䋩 156
-196-
䈇䉁䉅䈐䈢䉌䈳[᱌ 106䋺ੑ]๺ᴰᑼㇱ䋨㓸
5䋺㊄⪲䋩 111
䈇䉁䉋䉍䈲[᱌ 149䋺৻]⹗䉂ੱ⍮䉌䈝䋨㓸
6䋺⹖⧎䋩 147
䈇䉎䈼䈎䉍䈔䉎[᱌183䋺੖]㆏๮䋨㓸8䋺ᣂ
ฎ੹䋩 179
䈇䉏䈝䉅䈅䉌䈭䉃[᱌ 56䋺੖]࿷ේᬺᐔ
䋨㓸 1䋺ฎ੹䋩 67
䈇䉐䈡䉉䈎䈚䈐[᱌ 171䋺੖]⮮ේ㆏㓉ᅚ
ቯሶ䋨㓸 4䋺ᓟᜪㆮ䋩 169
䈇䉐䈮䈇䈪䈮䈔䉍[᱌ 110䋺ੑ]ᐔ౗⋓䋨㓸
3䋺ᜪㆮ䋩 114
䈇䉐䉅䈎䈲䉌䈝[᱌ 17䋺ੑ]⒌౗ᣇ䋨㓸 5䋺
㊄⪲䋩 34
䈇䉐䉅䈎䈲䉌䈯[᱌ 85䋺ੑ]ဈ਄ᤚೣ䋨㓸
1䋺ฎ੹䋩 93
㩷 㩷 㩷 㩷 㩷 㩷 㩷 㩷 㩷 㵪㩷 䈉㩷 㵪
䈉䈐䈖䈫䉅䈏䈭[᱌ 170䋺੖]๺ᴰᑼㇱ䋨㓸
4䋺ᓟᜪㆮ䋩 168
䈉䈐䈮䈢䈻䈯䈲[᱌ 173䋺྾]㆏࿃䋨⮮ේᢕ
㗬䋩 䋨㓸 7䋺ජタ䋩 171
䈉䈐䉁䉁䈮[᱌ 199䋺৻]⮮ේ㓉ᚑ䋨㓸 4䋺ᓟ
ᜪㆮ䋩 192
䈉䈐䉂䉕䈳[᱌ 167䋺৻]⮮ේବᚑ䋨㓸 8䋺
ᣂฎ੹䋩 164
䈉䈐䉅䈧䉌䈐䉅[᱌ 157䋺ੑ]⹗䉂ੱ⍮䉌䈝
䋨㓸 3䋺ᜪㆮ䋩 155
䈉䈐䉅䈧䉌䈐䉅[᱌ 172䋺ੑ]⹗䉂ੱ⍮䉌䈝
䋨㓸 1䋺ฎ੹䋩 170
䈉䈐䉅䈱䈲䈭䈚[᱌ 131䋺੖]ჼ↢ᔘጙ䋨㓸
1䋺ฎ੹䋩 130
䈉䈓䈵䈜䈱䈭䈒[᱌ 3䋺੖]⹗䉂ੱ⍮䉌䈝
䋨㓸 1䋺ฎ੹䋩 18
䈉䈚䈫䈍䉅䈸䈮[᱌ 165䋺ੑ]⹗䉂ੱ⍮䉌䈝
䋨㓸 3䋺ᜪㆮ䋩 163
䈉䈚䈫䉂䈚䉋䈡[᱌ 198䋺྾]⮮ේᷡテ䋨㓸
8䋺ᣂฎ੹䋩 192
䈉䈢䈏䈲䉏䈔䉎[᱌127䋺੖]Ḯⴕቬ䋨㓸5䋺
㊄⪲䋩 127
䈉䈢䈢䈰䈮[᱌113䋺৻]ዊ㊁ዊ↸䋨㓸1䋺ฎ
੹䋩 115
䈉䈢䈢䈰䈱[᱌ 192䋺৻]⮮ේታᣇ䋨㓸 4䋺
ᓟᜪㆮ䋩 187
䈉䈥䈱䈎䈲䈑䉍[᱌ 99䋺ੑ]⮮ේቯ㗬䋨㓸
7䋺ජタ䋩 105
䈉䈤䈸䈞䈳[᱌ 139䋺ਃ]๺ᴰᑼㇱ䋨㓸 4䋺
ᓟᜪㆮ䋩 139
䈉䈧䈧䈫䈍䉅䈲䈛[᱌ 195䋺੖]⮮ේ⾗㓉
䋨㓸 7䋺ජタ䋩 190
䈉䈧䈧䉅䈇䉁䈲[᱌ 195䋺྾]⮮ේ⾗㓉䋨㓸
7䋺ජタ䋩 190
䈉䈧䉍䈮䈔䉍䈭[᱌28䋺ੑ]ዊ㊁ዊ↸䋨㓸1䋺
ฎ੹䋩 42
䈉䈧䉍䈯䉎䈎䈭[᱌ 103䋺੖]⮮ේବᚑ䋨㓸
8䋺ᣂฎ੹䋩 109
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4䋺ᓟᜪㆮ䋩 92
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䋨㓸 1䋺ฎ੹䋩 95
㩷 㩷㩷㩷㩷㩷㩷㩷㩷
㩷 http//zubaraie.com
―八代集 概説―
＝八代集 概説＝
せんじん
かめい
せんじゃ
・・・八代集の成立順に、その『名称』[成立時期]＜撰進を下命した天皇または元天皇（院）＞選者(同集内
いほん
きそん
ちょうふく
ちょくせん
収載歌数)：収載歌総数（異本収載歌数：同歌集または既存歌集収載歌との重複歌数）と、各勅撰集の特徴
しる
について記す。
いちごん い っ く
もんごん
・・・「重複歌数」は、一言一句に至るまで完全に同一のもの（134 首）のほか、一部文言のみ微妙に異なる
もの（94 首）も含め、各種異本をまたいでの数を記す。
こきん
だいご
きのつらゆき
おおしこうちのみつね
きのとものり
みぶのただみね
１）『古今集』[905 年]＜醍醐天皇下命＞選者＝紀貫之(105)・凡河内躬恒(62)・紀友則(46)・壬生忠岑(37)：
すみけちうた
全 1100 首（異本歌 29 首：墨滅歌11 首：重複 2 首）
まんよう
しゅうたいせい
れいめいき
・・・『万葉集』（奈良時代末）以降の短歌の集大成を目指したものの、和歌黎明期だけに選者達の考える理
く に く
想の水準に達する作品が集まらず、苦肉の策として編入された選者自作歌がなんと全体の四分の一近くを
こきんちょう
よ
占めている・・・が、そのおかげで「古今調」と呼ばれる理知的な詠みぶりが確立され、平安調短歌隆盛への
しせん
ついずい
道を開いたこの和歌集の全体的水準の高さは（勅撰集・私撰集を問わず）他の何物の追随をも許さない・・・
本書を読んで平安調和歌に興味を持ったなら、まず読むべきは『古今集』、この一冊さえあれば他の七つ
ぶ
ん
や
には触れずともよし、何度読み返しても「素晴らしい！」の一言、短歌という文芸ジャンルは「初代が完璧な
け
う
そくせき
しる
理想型」という点で世界の文芸史に希有なる足跡を印すものだったことを思い知らされる、奇跡のような
しゅぎょく
珠玉の勅撰和歌集。
ごせん
むらかみ
きよはらのもとすけ
おおなかとみのよしのぶ
みなもとのしたがう
きのときぶみ
２）『後撰集』[950 年代]＜村上天皇下命＞選者＝清原元輔(1)・大中臣能宣(0)・ 源 順 (0)・紀時文
さかのうえのもちき
(0)・坂上望城(0)：全 1426 首（重複 25 首、うち『古今集』16 首、9 首は同じ『後撰集』内で重複）
・・・『古今集』から半世紀を経て和歌が貴族社会に完全に定着した時期に編まれた勅撰集だけに、選者達
なしつぼ
かいむ
そうこう
（通称「梨壺の五人」）の自作歌は皆無（元輔のダジャレ歌が一つ混入しているが、これは草稿段階でのイタ
けんもん
ズラで正規版では排除されていた可能性が高い）・・・内容的には当時の権門貴族の日常的贈答歌だらけ
つ ぶ や き
おもむき
ざ
うた
の「有名人ツィート集」の 趣 があり、（秀歌の数は多いものの）凡歌・戯れ歌の混入比率があまりに高すぎ
ことばがき
て歌集としての品質は八代集中ドン底の最低水準。詞書の粗雑さや重複歌の多さから見ても「正規版は
だいり
こうだい
る ふ
960 年の内裏火災で焼失、後代に流布したのは未完成段階の草稿でしかない」という通説に間違いない
ものと思われる・・・正規版がどの程度の品質だったかとても気になる「とっても残念な勅撰和歌集」。
しゅうい
かざん
３）『拾遺集』[1000 年代]＜花山院下命＞選者＝なし：全 1351 首（重複 64 首、うち 31 首が『古今集』、26 首
きんとう
が『後撰集』、7 首が同じ『拾遺集』内で重複、なお「公任秀歌選」には重複は一首もない）
ずいいち
ふじわらのきんとう
しゅういしょう
わかんろうえいしゅう
・・・当代随一の文化人藤原公任の私的秀歌選（『拾遺抄』のほぼ全首と、『和漢朗詠集』『三十六人撰』
きんぎょく
くぼん
しんそうひしょう
さきの
うたあわせ
『金玉集』『和歌九品』『深窓秘抄』『 前 十五番歌合』からの選歌）に、花山院（とその近臣）が選んだ歌を
わかどころ
ほぼ半々の比率で加えたもの・・・なので、八代集で唯一「短歌撰進用臨時部署＜和歌所＞が公式に設置
みしょう
か
だね
きんとう
されなかった」ばかりか「選者未詳」という変わり種。実質上の選者の公任(14 首)と、花山院の近臣として選
ふじわらのながよし
に加わったとされる藤原長能(7 首)の歌が加わったことで、前作『後撰集』で確立されかかった「選者の自
やくそくごと
作歌は勅撰集に入れない」という約束事は崩れたが、前作でガタ落ちした勅撰和歌集の品質を立て直した
きんとう
め き
公任の目利きの確かさと「恋歌」の秀歌の数々が光る短歌集。
http//zubaraie.com
-207-
― 八代集(Hachidai shuu) Overview ―
―八代集 概説―
ごしゅうい
しらかわ
ふじわらのみちとし
４）『後拾遺集』[1086 年]＜白河天皇下命＞選者＝藤原通俊(5)：全1220 首（重複8 首、うち『後撰集』1 首、
『拾遺集』7 首）
きんしん
じゃくはいもの
・・・選者の藤原通俊は白河天皇のお気に入りの近臣だが、和歌界では若輩者だったため、当然自分が選
かだん
じゅうちんみなもとのつねのぶ
なん
あらわ
者に選ばれるものと自負していた当時の歌壇の重鎮 源 経 信 が『難後拾遺』を 著 してその内容を批判す
なみかぜ
いちじょうちょう
るなど色々波風の立った勅撰集・・・しかしながら、集められた歌の対象年代が王朝文学最盛期の一条 朝
いずみしきぶ
あか ぞめ え も ん
はな
（和泉式部・赤染衛門らの活躍期）だったため（特に女流歌人の）華やかな秀歌も多く、選者の未熟さ
ことばがき
かげ
（詞書のクドさ等々）を救っている。その一方で、平安の世の陰りを感じさせるような哀感漂う短歌も目立
いわゆる さんだいしゅう
つ・・・『古今集』『後撰集』『拾遺集』の所謂「三代集」の頃とは（短歌も貴族社会も）微妙に違う時代（日本史
いんせい
でいう「院政期」）に入りつつあったのである。
きんよう
しらかわ
みなもとのとしより
しょどぼん
に ど ぼ ん
さんそうぼん
５）『金葉集』[1126年]＜白河院下命＞選者＝ 源 俊 頼 (42)：（初度本＋二度本＋三奏本総合）865首（正規
いほん
三奏本 648 首：異本歌 5 首：重複 26 首、うち『拾遺集』が 23 首、『後拾遺集』が 3 首）
せんじん
まか
みなもとのつねのぶ
べんさい そ ち
さんなん
・・・前作『後拾遺集』で撰進を任されずふてくされた 源 経 信 への弁済措置のごとく、その三男の俊頼を
ほうおう
選者に選んだ白川院（法皇）だが、その撰進内容に難色を示して二度も選者に突き返す異例の過程を経て
い ぼ て い
すけひとしんのう
（初度本巻頭歌に白川院が毛嫌いしていた異母弟の輔仁親王の短歌があったせいで院がヘソを曲げてし
ちょうあい
たいけんもんいん
す と く
まった、という説もある）、正規版としてようやく認められた三奏本は白川院の寵愛する待賢門院（崇徳・
ごしらかわ
る ふ
たびかさ
後白河両天皇の母）が手元に秘蔵して世に出ず、世間には「（ボツになったはずの）二度本」が流布、度重
へんちょう
ざ
うた
れんが
なる改選過程で徐々に増してきた前衛的歌風（当代歌人偏重、それまで戯れ歌扱いだった「連歌」を正規
ぶだて
らいれき
さんざん
の部立に組み入れる等）も当時としては不評で、八代集中最もややこしい来歴と散々の評判を背負う歌集
下品なウワサ
いろめがね
め き
になってしまった・・・が、そうしたゴシップの色眼鏡を外して見れば、超一級の歌人源俊頼の目利きの確か
ずいしょ
攻めの姿勢の
さが随所に光るなかなかの「トンガった歌集」と言える。
し か
す と く
ふじわらのあきすけ
６）『詞花集』[1150 年代]＜崇徳院下命＞選者＝藤原顕輔(6)：全 420 首（異本歌 5 首：重複 66 首、全て
『金葉集』との重複）
いちじょうちょう
さかのぼ
・・・「前衛的失敗作」だった前作『金葉集』への反省からか、当代歌人よりも一条朝まで 遡 る古い秀歌に
比重を移したおとなしい内容となっている。通常の勅撰集の半数にも満たぬ収録歌数の極端な少なさから
も、正規三奏本が世に出回らなかった『金葉集』との重複歌の異常な多さからも、前作からわずか25年後と
いう撰進間隔の短さからも、＜『金葉集』（二度本）を『詞花集』で補ってようやく一つの勅撰和歌集＞の感が
わく
の
ある。当代歌人枠の少なさのせいで「勅撰和歌集に名を載せて自らの名を上げたい！」と望む俗っぽい
貴人達から（歌の質ではなく、歌集の編集態度に対して）猛烈な批判が沸き上がったあたりいかにも「平安
よ
すえ
もよお
せいめい
じょけい
きわだ
の世も末」の感を 催 させるが、清明な叙景歌の秀作が際立つ「詩集」としてのその完成度は極めて高く、
p o e m
すす
「短歌」より「ポエム」が好きな読者向きの歌集と言えるだろう（・・・短歌初心者にお勧めの勅撰集としては
『古今集＞詞花集＞拾遺集』の順でベスト３と言ってよい；間違っても『新古今集＞千載集＞金葉集』あたり
ツウ
そうなん ろ
の＜短歌通向け遭難路＞を歩ませてはいけない！）
せんざい
ごしらかわ
ふじわらのしゅんぜい
７）『千載集』[1188 年]＜後白河院下命＞選者＝藤 原 俊 成(36)：全1288 首（異本歌2 首：重複23 首、うち
『拾遺集』3 首、『金葉集』15 首、『詞花集』5 首）
たかくら てい
じょうそう
いちじょう
ちせい
・・・選者が高倉帝に上奏して勅撰集として認めてもらうべく一条帝以降の十五代の治世に渡る秀歌を（１５
さんじゅうごだい
あんとく
ご と ば
代＝３×５＝『三 五 代集』の名で）編んだ私撰集を元に、その後の安徳帝・後鳥羽帝の二代の歌も加えて
ゆうげん
てい
練りに練り込まれた勅撰集・・・選者自身も認めている通り「俊成色＝幽玄の体」が非常に色濃く、「歌読み」
― 八代集(Hachidai shuu) Overview ―
-208-
http//zubaraie.com
―八代集 概説―
と
ろ
せいち
には評判が高い勅撰集だが、歌人の内面世界を吐露した精緻な描写がこれでもかこれでもかと続く（一気
むらさきしきぶ
えんえん
読みするには）少々息が詰まる感じの短歌集ではある（・・・『紫式部日記』を延々読み進めるような感じ、と
じょけい
じょじょう
言えば伝わる人には伝わるだろう）・・・前作『詞花集』とは対照的に、叙景より叙情に重きを置き、当代歌人
かそう
が半数を占め、うち二割が俗世を捨てた「歌僧」であるあたりに、源平争乱で壊れつつあった平安末世の
ないせい
ふ ん い き
あわ
内省的雰囲気がずっしり重く伝わって来る勅撰和歌集である（・・・『平家物語』と併せ読むのに最もふさわし
うと
い短歌集、と言えば古典に疎い日本人にもその感じは伝わるだろう）
しんこきん
ご と ば
ふじわらのていか
ふじわらのいえたか
じゃくれん
ふじわらの
８）『新古今集』[1201～1216 年]＜後鳥羽院下命＞選者＝藤原定家(47)・藤原家隆(43)・寂蓮(35)・藤 原
あ す か い
まさつね
ふじわらの ろくじょう ありいえ
みなもとの ほりかわ みちとも
のぞきうた
（飛鳥井）雅経(22)・藤 原（六条）有家(19)・ 源 （堀川）通具(17)：全1978 首（除棄歌20 首：重複13 首、うち
『古今集』2 首、『拾遺集』2 首、『金葉集』7 首、『詞花集』1 首、同じ『新古今集』内での重複 1 首・・・後鳥羽院
おきぼんのぞきうた
独自の「隠岐本除棄歌」344 首）
ご し ょ
わかどころ
かん
・・・後鳥羽院の御所に「和歌所」が置かれたのが 1201 年、最終完成を見たのは 1216 年頃、この間には
よりうど
しゃくあ
しゅんぜい
じえん
最終的に選者として名を連ねた６名以外にも更に８名の「寄人」として釈阿（＝藤原俊 成 ）・慈円・藤原
たかのぶ
ひでよし
よしつね
みちちか
ともちか
かものちょうめい
ほか
隆信・藤原秀能・藤原良経・源通親・源具親・鴨 長 明 （そして他ならぬ後鳥羽院その人）も選に加わって
しゅうたいせい
いる。『＜新＞古今』の名が示す通り、『古今集』以来の平安調短歌の集大成を目指しつつ、収載歌範囲を
まんよう
しゅんぜい
『万葉集』にまで広げており、前作『千載集』がどこまでも＜当代重視の藤原俊 成お気に入り歌集＞だった
ひゃっか りょうらん
こ か
ほどこ
のとは対照的に、百花繚乱のきらびやかさがある・・・ただ、古歌には編者独自の身勝手な改変を 施 し、
おののこまち
せみまる
かえり
かた
「小野小町(6)」や「蝉丸(2)」といった（長らく 顧 みられなかった）「伝説の歌人」の名を勝手に騙って古歌
めかした新作歌を作り散らし、当代歌では「本歌取り」「本説取り」が異常なまでに多用される（全体の約二
よ
あ
しんこきんちょう
割に及ぶ）など、良くも悪しくも強烈すぎるクセのあるその作風は「新古今調」と呼ばれ、好き嫌いが（当時も
こうだい
あ
てい
おおかた
そうだったが、後代は特に）極端に分かれる（有り体に言えば、大方の日本人に毛嫌いされて「短歌」が
すいぼう
衰亡する原因を作った）勅撰和歌集である・・・古典短歌世界によほど精通していない限り「 何の
と ほ う
あ
いど
こっちゃ？！」と途方に暮れるばかりの排他的難解さ満載の歌集だけに、現代読者が敢えて挑んだとしても
かるがる はじ
かえ
けいじじょうがく
K a n t
もんがいかん
ぶんぶつ
軽々弾き返されてしまう点で、「新古今」と言えば「形而上学」や「カント哲学」同様の「門外漢殺し文物」の
しろもの
かごん
いど
代名詞たり得る代物と言っても決して過言ではない・・・まぁ、挑む現代人もそうそういるまいが、挑戦するな
のきな
の う り
ら『古今集』から『千載集』までの有名作品軒並み即座に脳裏に浮かぶほどの和歌の素養と瞬発的記憶力
がないと ― または八代集の全てを＜総ひらがな表記＞して自在に検索可能にしたコンピュータ・データ
む だ ぼね
ベースが手元にないと ― 無駄骨に終わるか、もっと悪いことには「本に付いてる学者の解説の受け売り」
に
で「インテリ気取った新古今調エソテリ野郎（エセ・ウソ・インテリジェンス・エソテリシズム＝真の知性とは似
ひ
けんお
て非なるインテリ気取った排他的卓越主義者）」となって門外漢の嫌悪と嘲笑と無視の対象となるばかり（・・・
あいろ
ひ に く な オ チ
実はそれこそまさに「正調新古今隘路」ってアイロニーが待っているばかり）・・・
へいそく
たど
・・・結局、こうして自己閉塞的滅びの道を辿った平安調短歌だったが、その「知る人ぞ知る；知らない人に
べっし
はわかるまい」的な「部外者蔑視＆ひけらかし目的の排他性」だけは、和歌と無縁の日本人の間にも各方
れんめん
か ぶ き
えんもく
ふぶんりつ
面で連綿と引き継がれて今日に至っている・・・歌舞伎の演目から一般企業の不文律まで、日本の社会は
よ そ も の
しんざんもの
あざわら
おの
s t a t u s
「こんなことも知らんようじゃ、お前もまだまだだな」として余所者・新参者を嘲笑うことで己れのステータスを
こ
じ
ど
誇示しいびつな優越欲求を満たそうとする無意識的参入障壁だらけである。＜部外者の目から見れば度し
がた
排 他 的 深 遠 さ
う
そ ちしきじん
難きそのエソテリシズム＆エセインテリ気取りの醜悪さ、それを思い知る目的のためだけにでも、古典に
た た き の め さ れ る
無知な現代日本人が『新古今集』でガツンとノックアウトされる反面教師体験は貴重かも＞とか皮肉の一つ
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― 八代集(Hachidai shuu) Overview ―
―八代集 概説―
も言いたくなるが、無意識のうちにも＜ヨソモノ・シロウト、お断わり！＞の壁ばかり作りたがる日本の「自称
かこ
もの
お
文化人／専門家」の囲い者として飼い殺しにしてしまうにはいささか惜しい短歌も（数少ないとはいえ）ある
のと・じゃうご
ゆえつ
ふけ
ことを知るこの筆者（之人冗悟）としては、その純粋な文学的愉悦に（世界中の「本物の文化人」と共に）耽る
しだい
喜びを味わうための本を一冊作っておくのもよろしかろう、と思ってこの本を世に出す次第である。
－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－
＝八代集(Hachidai shuu) Overview ＝
・・・the following is an overview of 八代集(Hachidai shuu＝8 great Imperial TANKA anthologies) in
order of appearance, with 『TITLE』[publication year]＜at the order of what [ex]Emperor＞
editor[s](number of songs in the anthology in question) : total number of songs(number of songs in
variant texts : number of redundant songs) and cursory review of the anthology's characteristics
・・・"redundant songs" embrace not only totally identical ones (134) but also songs with minor
alterations in some phrase[s] (94), including those seen in variant texts
１）『古今集(Kokin shuu, meaning "Songs old and new")』[A.D.905]＜at the order of 醍醐天皇(Emperor
Daigo)＞editors＝紀貫之(Ki-no-Tsurayuki:105)・凡河内躬恒(Oushikouchi-no-Mitsune:62)・紀友則
(Ki-no-Tomonori:46)・壬生忠岑(Mibu-no-Tadamine:37)：total 1100 songs（29 songs in variant texts：
墨滅歌(sumi-kechi-uta＝blotted out songs)11：2 redundant songs）
・・・This first Imperial TANKA anthology was intended to be the corpus of TANKA poetry since the
time of 『万葉集(Mannyou shuu, meaning "Myriad leaves")』 at the end of the Nara(奈良) era. As it
turned out, however, the world of Heianese(平安) poetry was still in its infancy with hardly enough
numbers of sophisticated TANKA coming up to the expectations of the editors. In order to fill the gap
between the reality and their ideals, the original songs of the four editors occupied as much as almost
one-fourths of the total number of songs in this anthology. This quite abnormal intervention of the
editors, however, perfectly established 古今調(Kokin chou) rhyming style noted for imaginative
enhancement of the world outside, exquisitely balanced with personal emotions in sophisticated
terminology. This anthology paved the way for the glorious prosperity of Heianese TANKA, whose
overall level of poetic sophistication is absolutely unmatched by any other anthologies, Imperial or
otherwise... Should you, readers, have real interest ignited by my book in the world of Heianese TANKA,
the first thing you should get to read is 『古今集(Kokin shuu)』: if you get your hand on this one, the
other 7 anthologies may just as well be left untouched. No matter how many times you come back to
cherish it, you'll hear the same echo of your heart's exclamation "WONDERFUL!" A miraculous gem of
an Imperial TANKA anthology, whose genre achieved the height of its ideal at its very first attempt at
climbing... a uniquely giant step unthinkable anywhere else in the world's literary history.
２）『後撰集(Go-sen shuu, meaning "Selected works after Kokin shuu")』[in the 950s]＜at the order of
村 上 天 皇 (Emperor Murakami) ＞ editors ＝ 清 原 元 輔 (Kiyohara-no-Motosuke:1) ・ 大 中 臣 能 宣
(Ounakatomi-no-Yoshinobu:0)・源順(Minamoto-no-Shitagau:0)・紀時文(Ki-no-Tokibumi:0)・坂上望
城(Sakanoue-no-Mochiki:0)：total 1426 songs（25 redundant songs, including 16 songs from 『古今集』
and 9 songs from the same 『後撰集』）
― 八代集(Hachidai shuu) Overview ―
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―八代集 概説―
・・・Half a century after the publication of 『古今集(Kokin shuu)』, when TANKA poetry had already
been firmly established in the everyday life of the society of nobles in 京都(Kyoto), the editors of this
second Imperial TANKA anthology ― known as 梨壺の五人(Nashi-tsubo no go nin＝five staff at
the office of Nashitsubo) ― didn't have any of their original TANKA poems included in their final
work... only a joking stuff of pun song by 元輔(Motosuke) is seen included among the prevalent version
probably as a result of a small laugh in the drafting stage, which MUST have been excluded from the
final official version. This second song book is very much alike "a hodgepodge of celebrities TWEETS"
full of petty daily conversation in 31 letters between the thriving nobles of the day. There do exist lots of
good poems in it, but the absurdly high proportion of rubbish and jesting songs makes it by far the
worst of 八代集(Hachidai shuu) from qualitative point of view. Judging from the crudity of 詞書
(kotoba-gaki＝annotations) and the number of redundant songs, the popular legend must be right that
the prevailing version of this anthology in later years was an unfinished draft, with the final official
version burnt down in the fire at the Imperial Palace in A.D.960... such a sorry Imperial anthology is it
that I'm more than curious about the quality of its final version lost for ever to taint its honor.
３）『拾遺集(Shuui shuu, meaning "Leftovers from Kokin and Go-sen shuu")』[in the 1000s]＜at the
order of 花山院(ex-Emperor Kazan)＞editors＝NONE：total 1351 songs（64 redundant songs,
including 31 songs from 『古今集(Kokin shuu)』, 26 songs from 『後撰集(Go-sen shuu)』 and 7 songs
from the same 『拾遺集(Shuui shuu)』... no redundancy among "公任(Kintou)'s best selection"）
・・・The essential half of this anthology is composed of the personally selected great songs by the
greatest cultural figure of the day 藤原公任(Fujiwara-no-Kintou) ― practically all the songs from 『拾
遺抄(Shuui shou)』 and selected songs from 『和漢朗詠集(Wa-Kan rouei shuu)』『三十六人撰
(San-juu-roku nin sen)』『金玉集(Kingyoku shuu)』『和歌九品(Waka ku-bon)』『深窓秘抄(Shin-sou
hishou)』『前十五番歌合(Saki-no juu-go ban uta-awase)』 ― the other half supplemented by favorite
songs of 花山院(Kazan inn) and his nearest courtiers. Such being the case, this is the only Imperial
TANKA anthology of 八代集(Hachidai shuu) with no 和歌所(waka-dokoro＝a temporary Imperial
office for the sole purpose of TANKA anthology publication) and even no official editor. By embracing
14 songs of 公任(Kintou, virtually the main editor of the anthology) and 7 from 藤原長能(Fujiwara-noNagayoshi, who is said to have participated in song selection as the nearest courtier of Kazann inn), this
anthology demolished the official rule of "never including editors' original songs" which seemed to have
been established by the previous anthology 『後撰集(Go-sen shuu)』. From qualitative point of view,
this anthology made a wonderful recovery from the downfall of its predecessor by virtue of the
scrutinizing eye of the virtuoso 公任(Kintou) and the entrancing repertoires of superb 恋歌(koi uta＝
songs of love).
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― 八代集(Hachidai shuu) Overview ―
―八代集 概説―
４）『後拾遺集(Go-Shuui shuu, meaning "Sequel to Shuui shuu")』[A.D.1086]＜at the order of 白河天皇
(Emperor Shirakawa)＞editor＝藤原通俊(Fujiwara-no-Michitoshi:5)：total 1220 songs（8 redundant
songs, including 1 song from 『後撰集(Go-sen shuu)』 and 7 songs from 『拾遺集(Shuui shuu)』）
・・・The editor of this anthology was a favorite courtier of Emperor 白河(Shirakawa), but he was
considered too immature for the great honor of compiling an Imperial TANKA anthology. 源経信
(Minamoto-no-Tsunenobu), dean of TANKA poetry of the day and proudly hopeful of the honorable
duty of editing it, became understandably indignant and published 『難後拾遺(Nan Go-Shuui,
meaning "Criticism of Go-Shuui")』. Despite so much scandalous repute, since the target age of this
anthology was 一条朝(Ichijou-chou＝the reign of Emperor Ichijou), the prime of Heianese literature
with such talents as 和泉式部(Izumi shikibu) and 赤染衛門(Akazome emon), the immaturity of the
editor (the long, prosaic annotations wet-blanketing poetry, etc.) is somewhat relieved by the number
of great songs of so many great poets (especially women). On the other hand, poems with pathos
signaling the twilight of the Heian era began to appear in this anthology... tide was turning from the
good old days of 三代集(Sandai shuu) ― 『古今集(Kokin shuu)』, 『後撰集(Go-sen shuu)』 and 『拾遺
集(Shuui shuu)』 ― into something different ― 院政期(inn-sei ki＝the period of wire-pulling
politics) as Japanese historians call it ― both in the world of TANKA and the Heianese nobles.
５）『金葉集(Kinnyou shuu, meaning "Golden leaves of words")』[A.D.1126]＜at the order of 白河院
(ex-Emperor Shirakawa)＞editor＝源俊頼(Minamoto-no-Toshiyori:42)：（初度本:1st＋二度本:2nd＋
三奏本:3rd editions）total 865 songs（the official 3rd edition alone＝648 songs：5 songs in variant texts：
26 redundant songs, including 23 songs from 『拾遺集(Shuui shuu)』 and 3 songs from 『後拾遺集
(Go-Shuui shuu)』）
・・・In the previous Imperial anthology 『後拾遺集(Go-Shuui shuu)』, the then Emperor Shirakawa
didn't choose 源経信(Minamoto-no-Tsunenobu) as its editor and made him indignantly disappointed;
this time, as if in compensation, 白川院(ex-Emperor Shirakawa) chose 経信(Tsunenobu)'s 3rd son
俊頼(Toshiyori) as the sole editor of a new Imperial TANKA anthology; but 白川院 was anything but
kind to 俊頼(Toshiyori). Rumor has it that the 1st edition started with a song by 輔仁親王(Sukehito
shinnou＝prince Sukehito), a brother-in-law of 白川院 whom he hated so much that he turned
absolutely sour on what 俊頼(Toshiyori) offered afterwards: after having his compilation rejected
TWICE (which was quite unusual), the third and official version of this anthology was cached away at
the hand of 待賢門院(Taiken-mon inn), the beloved court lady of 白川院 who gave birth to two
Emperors, 崇徳(Sutoku) and 後白河(Go-Shirakawa), never to circulate outside, only to be substituted
publicly with the officially turned-down 2nd version. In such unhappily complicated circumstances,
this anthology became more and more “avant-garde” ― shifting heavily towards the works of
contemporary poets, giving proper space for 連歌(renga＝linked verse rhymed out as a combination
play between two different poets, which was generally dismissed as a party trick). Such progressive
characteristics of this anthology were not to the taste of poets of the day; seen without any such gossipy
prejudice, however, this "far-out" anthology strikes authentic poets as extraordinary (in a good sense)
here and there by dint of the unique choice by 源俊頼(Minamoto-no-Toshiyori) whose poetic
virtuosity was not lethally spoiled by such less than favorable circumstances unbearably heavy on him..
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―八代集 概説―
６）『詞花集(Shika shuu, meaning "Flowers of words")』[in the 1150s]＜at the order of 崇徳院(Sutoku
inn)＞editor＝藤原顕輔(Fujiwara-no-Akisuke:6)：total 420 songs（5 songs in variant texts：66
redundant songs, all from 『金葉集(Kinnyou shuu)』）
・・・Perhaps in conscious contrast to the "progressive failure" of the previous 『金葉集(Kinnyou shuu)』,
this anthology is a little too orthodox, weighing much more on old excellent TANKA back in the years of
Emperor 一条(Ichijou) in preference to the contemporary poems. Its unusually small number of
volume (with less than half the normal volume) along with its abnormal redundancy from the previous
anthology which was published as recently as 25 years before makes it appear that 『金葉集(Kinnyou
shuu)』's 2nd edition supplemented by 『詞花集(Shika shuu)』 composes a normal volume of a single
Imperial anthology. Due to the small number of space for contemporary poets, those noble (but
ignoble) ones who aspired for prestige through being listed among the Imperial TANKA anthology
poets rebuked this anthology ― not for its contents but for the editor's attitude in compilation... you can
see how deep in shit the world of Heianese nobles already was. Aside from such turbulence outside, the
poetic world of this anthology is extremely high in quality with lots of crystal clear depiction of Nature,
which will be to the taste of those readers who prefer "poems" to "TANKA"... in fact, the best 3 Imperial
anthologies for novice readers of TANKA should be 『古今集(Kokin shuu)＞詞花集(Shika shuu)＞拾遺
集(Shuui shuu)』 in that order; never let them tread the distress course of 『新古今集(Shin-Kokin shuu)
＞千載集(Senzai shuu)＞金葉集(Kinnyou shuu)』 meant solely for experts.
７）『千載集(Senzai shuu, meaning "A millennium of poems")』[A.D.1188]＜at the order of 後白河院
(ex-Emperor Go-Shirakawa)＞editor＝藤原俊成(Fujiwara-no-Shunzei:36)：total 1288 songs（2 songs
in variant texts：23 redundant songs, including 3 songs from 『拾遺集(Shuui shuu)』, 15 songs from
『金葉集(Kinnyou shuu)』 and 5 songs from 『詞花集(Shika shuu)』）
・・・Prior to this anthology, its editor 俊成(Shunzei) had prepared his personal selection of good poems
over fifteen different reigns of Emperors starting from Emperor 一条(Ichijou) ― called 『三五代集
(San-juu-go dai shuu)』, meaning poems from 3x5=15 different reigns ― which he had expected
Emperor 高倉(Takakura) to admit as an Imperial TANKA anthology. The editor later added two more
generations of TANKA from the reigns of Emperor 安徳(Antoku) and 後鳥羽(Go-Toba), culminating
in this 『千載集(Senzai shuu)』 which, as he admits, is characteristically 俊成(Shunzei)istic ― he
personally called it 幽玄の体(yuugen no tei＝a style of poetry with much imaginary reverberation
between the lines), so much so that professional readers of TANKA poetry think highly of this
anthology, where you will find no end of exquisite depiction of the inner worlds of numberless TANKA
poets, a little too choking to be read through in your casual lyrical spree... you'll know how it is if you
have had the nerve-exhausting experience of rushing nonstop through 『紫式部日記(Murasaki shikibu
nikki＝the diary of Lady Murasaki)』. In contrast to the previous anthology 『詞花集(Shika shuu)』, this
anthology is much more lyric than descriptive, half of its poems were made by the contemporary, of
which some 20% were the songs of 歌僧(kasou) , singing bonzes who deserted the secular world that
was being destroyed by the civil war between the 源(Minamoto)'s and 平(Taira)'s... pessimistic
communion with oneself resounding as heavily as 祇園精舎の鐘の声(Gion shouja no kane no koe＝the
toll ringing at the Jetavana-vihāra), this anthology will be the perfect choice for reading along with
『平家物語(Heike monogatari＝the tales of the rise and fall of the Tairas)』... now, even those Japanese
who are totally ignorant of classics will have known what 『千載集(Senzai shuu)』 is like.
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―八代集 概説―
８）『新古今集(Shin-Kokin shuu, meaning "Kokin shuu reinvented")』[A.D.1201～1216]＜at the order of
後鳥羽院(ex-Emperor Go-Toba)＞editors＝藤原定家(Fujiwara-no-Teika:47)・藤原家隆(Fujiwarano-Ietaka:43)・寂蓮(Jakuren:35)・藤原（飛鳥井）雅経(Fujiwara-no/Asukai Masatsune:22)・藤原（六条）
有家(Fujiwara-no/Rokujou Ariie:19)・源（堀川）通具(Minamoto-no/Horikawa Michitomo:17)：total
1978 songs（除棄歌(nozoki uta＝blotted out songs) 20：13 redundant songs, including 2 songs from
『古今集(Kokin shuu)』, 2 songs from 『拾遺集(Shuui shuu)』, 7 songs from 『金葉集(Kinnyou shuu)』, 1
song from 『詞花集(Shika shuu)』 and 1 song from the same 『新古今集(Shin-Kokin shuu)』・・・
後鳥羽院(Go-Toba inn)'s original 「隠岐本除棄歌(Oki-bon nozoki-uta＝blotted out songs in the books
of Oki-no-shima)」344 songs）
・・・In 1201, 後鳥羽院(Go-Toba inn) established 和歌所(waka-dokoro＝a temporary office for
Imperial TANKA anthology publication) in his own residence; around 1216, this extraordinarily lengthy
project of Imperial anthology came to its conclusion... during which period, besides the 6 poets whose
names finally appeared as its editors, there were 8 more poets who took part in song selection as 寄人
(yori-udo＝participating experts) ― 釈阿（Shakua＝藤原俊成:Fujiwara-no-Shunzei）・慈円(Jien)・
藤原 隆 信 (Fujiwara-no-Takanobu) ・ 藤 原 秀 能 (Fujiwara-no-Hideyoshi) ・ 藤 原 良 経 (Fujiwara-noYoshitsune) ・ 源 通 親 (Minamoto-no-Michichika) ・ 源 具 親 (Minamoto-no-Tomochika) ・ 鴨 長 明
(Kamo-no-Choumei)... and none other than 後鳥羽院(Go-Toba inn). As its name 『＜新＞古今
(Shin=New-Kokin)』 implies, this anthology aspired to be the corpus of Heianese TANKA since
『古今集(Kokin shuu)』, extending its scope to the preceding years of 『万葉集(Mannyou shuu)』. In
contrast to the previous anthology 『千載集(Senzai shuu)』 which was too much contemporary and too
much 俊成(Shunzei)istic, this final anthology of 八代集(Hachidai shuu) is brilliantly gorgeous in its
variations. The songs of this anthology, however, are grossly characteristic for good or evil ― called
新古今調(Shin-Kokin chou) ― arranging wordings of old poems according to the editors' own
Ono-no-Komachi
fancy, making "fake" old songs in the name of long-ignored legendary poets like 小野小町(6) or
Semi-maru
蝉 丸 (2), borrowing terms and backgrounds from old songs as imaginary foundations of
contemporary poems ( 「 本 歌 取り :honka-dori, word-borrowing 」 「 本 説 取 り :honsetsu-dori,
background-borrowing」) in abnormal frequency (amounting to some 20%!)... Such eccentric traits
made this 『新古今集(Shin-Kokin shuu)』 the most liked and disliked of all TANKA anthologies,
even in its day, much more so in later years; directly speaking, most Japanese of later years totally
hated and negated such Shin-Kokinistic eccentricity, leading to the downfall of TANKA poetry along
with the fate of the noble folks in 京都(Kyoto). Unless you are exceptionally well-versed in the world of
classical TANKA poetry, you are in for endless bewilderment in the works of this anthology which were
made intentionally difficult to understand for all but the erudite. Practically all the modern challengers
will be simply and miserably spurned, making 新古今(Shin-Kokin) the equal of "metaphysics" and
"philosophy of Immanuel Kant" ― laymen-eliminator... well, I guess few modern readers will
venture to challenge it, but if they do, they'll simply go nowhere without adequate knowledge of
Heianese TANKA from 『古今集(Kokin shuu)』 to 『千載集(Senzai shuu)』, with all the famous poems
instantly coming up to mind in their well-versed, quick-response brains... or without a perfect
computer database with ひらがな(hiragana)-search capability of all the phrases appearing in 八代集
― 八代集(Hachidai shuu) Overview ―
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―八代集 概説―
(Hachidai shuu) near at hand... otherwise, something much worse than lack of understanding will be in
store for such daredevil challengers ― they will end up reciting (without understanding) what scholars
say in the books they happened to have their hands on!... thereby making themselves hated, scorned
and ignored by all the laypersons, dismissed as would-be intellectuals, or 新古今調エソテリ野郎
(Shin-Kokin-chou ESOTERI yarou ＝ self-styled super-intelligentsia empowered by something
somewhat similar yet quite alien to authentic intelligence trying consciously to exclude others from
their esoteric circles) of would-be pundits... which, ironically, is nothing but the actual narrow path
opened up by 新古今集(Shin-Kokin shuu) to close the door of TANKA poetry to the general reading
public…
・・・After all, Heianese TANKA ended up in the impasse of self-suffocation, with fewer and fewer
followers of the intentionally narrowed path in later years. But even those Japanese totally alien
to the tradition of TANKA have inherited its negative heritage here and there in today's
Japan ― the exclusive consciousness to show off knowledge and drive away strangers
as if silently asserting "those who know will know; those who don't simply won’t"...
from repertoires of 歌舞伎(Kabuki) to unwritten rules of business companies, Japanese society is
surrounded by subconscious walls against newcomers laughing away their ignorance of "what insiders
should NATURALLY know" thereby taking pride in their established insider status and satisfying their
perverted superiority complex over ignorantly bewildered outsiders… I cannot help being sarcastic
about such Japanese exclusiveness, feeling inclined to say "Classically illiterate Japanese folks
should have their ignorant heads scornfully hit hard by 『新古今集(Shin-Kokin shuu)』,
to learn a lot from this lethally bad example how intolerably ugly their esotericism and
pseudo-intelligence appear in the eyes of outsiders and any objective observers"... Yes,
the self-styled men of culture or self-proclaimed professionals in Japan are in the subconscious habit of
making walls around them to reject outsiders and laypersons: the world of Heianese TANKA has been
tucked away behind such esoteric walls, somewhat deservedly, all these long while… but there do exist
in this world some poems, if not many, too precious to be left gathering moss as pets of petty-minded
Noto Jaugo
seclusionists. This author 之人冗悟 regrets it as one who knows them too well, so he thought it better
to save them out of such secluded obscurity and provide authentic men of culture all over the world
with an opportunity to rejoice in their purely literary enjoyment by making this book available in
ENGLISH/Japanese…
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― 八代集(Hachidai shuu) Overview ―
―八代集と本書の関わりについて―
＝八代集と本書の関わりについて＝
ちょくせん
み よ
だいだい
勅撰和歌集「八代集」（「八大」集とは書かない）の「代」は「天皇の御代」の意だが、さりとて「代々の天皇
ちせい
へんさん
じょうこう
の治世」のたびに朝廷で公式和歌集が編纂されたわけではないし、天皇の「御代」が終わって上皇になっ
せんじん
かめい
しらかわ テンノウ
ホウオウ
た後に勅撰和歌集撰進の下命を出す場合も多かったし、白河天皇／法皇のように在位中＋退位後に二度
みかど
も勅撰集撰進命令を出した 帝 もあるから「八代集＝八人の天皇各代の和歌選集」というわけでもないし、
ぼんか
にゅうしゅう
『古今集』以外の勅撰集では「当代の＜有名人＞」であれば＜名人＞ならずともその凡歌を勅撰集に入 集
かんこう
させて当人をいい気分にさせてやる社交辞礼的（ゴマスリ）慣行もあったのだから、「八代集＝各時代ごとの
短歌名作選集」などという間違った前提でこれに向かえば、落胆を通り越して嘲笑・憤激を禁じ得ないので、
「八＜大＞集」と呼ぶにもいささか抵抗がある・・・という風に、何から何まで何とも微妙な呼び名ながら、
だ い ご てい
ご と ば
日本文学史上「八代集」と言えば＜第６０代醍醐帝から第８２代後鳥羽帝までの「２３代」、９０５年から１２１６
みかど
いん
ちょくめい
せんじん
年の約三百年間に「７人」の 帝 ／院の勅 命によって撰進された「８つ」の勅撰和歌集＞を指すものである。
ぶ
ん
や
およそ「短歌」ほど＜選別＞が死活的重要性を持つ文芸ジャンルはない・・・優れた詩人の個人作品集で
いんりつ
はない「勅撰和歌集」では特にそうである。五・七・五・七・七で字数を合わせさえすれば韻律も何も関係な
しいか
さんぶん
むじんぞう
やまとうた
しゅうたいせい
しに日本人なら誰でも簡単に「詩歌めいた散文」が無尽蔵に作り散らされてしまうだけに、品質管理は極め
みや
び じ れいく
ふんしょく
て困難、「平安の世の雅びを今に伝える大和歌の集大成」などと美辞麗句で粉飾してみても、実際には残
いほん
念な凡作の方が圧倒的に多い約千三百人の歌人の寄せ集め歌集（異本を含む八代集収載歌総数は９７０８
ちょうふく
よ
首：重複除外すれば９４８０首）なのだから、その中から本当に良い歌だけを選りすぐって眼前に示さぬ限り、
こうだい
せんりゅう
はいく
後代の読者としては「短歌って、クズだな！」で終わりなのである・・・で、実際、「 川 柳 ・俳句はまだしも、短
おおかた
歌なんて、ねぇ・・・」というのが大方の現代日本人の感覚のように思われる・・・五・七・五の十七文字だけで
き ご
T w i t t e r
ボソッと言い切る「川柳（季語付きなら、俳句）」では（１４０文字の英文ツイッター同様）名句も凡句もなかなか
きわだ
い き よ う よ う
生まれない（優劣差がさほど際立たず似たり寄ったりになる；ので、誰でも簡単に手を出せる）が、意気揚々
かみ
く
しも
く
こしくだ
こしお
うた
みじ
の「五・七・五」（上の句）が「七・七」（下の句）段階でガクっと腰砕けに終わる「腰折れ歌」の惨めさが誰の目
め き
おこた
にも明らかな「短歌」の世界では、凡歌を排して秀歌のみに絞り込む目利きの選別作業を少しでも 怠 れば、
よ
へいそく
潜在的「歌読み」たちはたちまち逃げて行く・・・「歌詠み」が育たぬのは言うまでもない・・・そうした自己閉塞
かこ
のと・じゃうご
状況を、「短歌」は、少なくとも一世紀以上の長きに渡って託ち続けている・・・と、この筆者（之人冗悟）の目
には映る・・・これが見立て違いであればそれに越したことはないのだが、「自分だけは熱心に短歌を読ん
よ
こ う ず か
で／詠んでいる！」と言い張る少数の好事家が何をどう主張しようとも、かつて「物語よりも随筆よりも、何を
おいてもまず短歌」だった時代がこの国にあったことを思えば、そして「わずか三十一文字の小宇宙で凝縮
い
とうてい
がた
的に物語を構築し得る短歌の潜在力」自体は今なお健在である（のに活かされているとは到底言い難い）
ことを思えば、「２１世紀初頭の日本にあって、短歌文芸は（死んではいないにせよ）休眠状態にある」と
言い切るのに何のためらいもないこの筆者である・・・がゆえに、その状況を打ち破るに十分な「良材」選び
しだい
に一年間寝ても覚めても「八代集」まみれの生活の果てに、本書をこうして世に問う次第である。
本書の生命線はズバリ、その＜選別＞の品質にある。「八代集」９４８０首のうち、筆者の「古文教育者」とし
あ
がんぜん
ての目で見て「短歌（必ずしも詩歌ならず）」として敢えて現代の古文学習者の眼前に提示してもよいと思え
た
あたい
る作品は１０００首足らず、現代の詩的・文芸的感性から見て鑑賞に堪え解説・対訳を付けてやるに 値 する
しんげん
短歌たるやわずか２００首程度、その中でも特に「★＜詩＞として、あるいは＜箴言＞として、特に優れて
たいこばん
いる★」と筆者が個人的に太鼓判を押せる作品はわずか５０首に過ぎない・・・その★筆者の個人的お気に
ふく
入りベスト５０首★に●古典短歌として紹介したいもの１５０首●を加えて膨らませたのが本書である。本書
に収めた２００首が必ずしも「八代集（９４８０首分の）ベスト２００」というわけではない：「●日本の伝統的季
じょうちょ
あ
節・情緒を今に伝えるのに好適な短歌●」であれば「凡歌」でも敢えて混入させてあるので（★筆者の個人
―How this book relates to 八代集―
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―八代集と本書の関わりについて―
的ベスト５０★以外は）その純度をあまり当てにしてもらっても困るが、この一冊さえあれば「八代集」そのも
のには触れずとも（「八代集って、何？」というような日本の人々にとっては）問題なしと言えるぐらいの「日本
ふじわらのていか
おぐら
の古典的短歌の入門編＆決定版」に仕上がっていることは保証しよう。あの有名な藤原定家の『小倉百人
一首』が「一歌人一首のみの著名歌人の名刺入れ（しかも必ずしも各歌人ベスト集ならず）」だったのと異な
いずみしきぶ
さいぎょう ほ う し
り、本書の選別基準は「歌人」ではなく「歌の内容」のみなので、天才歌人の和泉式部や西行法師のように
よ
ほとん
やたら数多く登場する歌詠みもあれば、 殆 ど無名の人の歌も多く、半数近くは「詠み人知らず」である・・・
な
じつ
だ い ご み
名よりも実を重んじればこそのその変則性もまた本書の醍醐味の一つとして味わっていただければと思う。
しなんしょ
本書はあくまで「詩集」であって「和歌指南書」ではないので、「短歌の技法」「古典文法」「古文単語」の詳
細で体系的な解説は期待しないでほしい ― そうした参考書としての役柄は、同じ筆者の既刊本『古文・
M a s t e r i n g
W e a p o n
M a s t e r i n g
W e a p o n
和歌マスタリング・ウェポン』および『古文単語千五百マスタリング・ウェポン』の両書が完璧に演じてくれて
いるし、両書に含まれる古文単語１５００＋古典助動詞３７＋古典助詞７７を「生きた古文の文脈」で読解・暗
のと・じゃうご
ふ さ う がた
記するための「之人冗悟自作の平安調擬古文で構成した２２編の歌物語集」としての『扶桑語り』も併用して
さんぶん
いんぶん
もらえば、日本の平安時代の散文／韻文の読み解き能力としては（読者の期待を確実に上回るほどの）
たの
超絶的水準に到達し得ることを約束しよう・・・だから、本書はあくまで「詩集」として愉しんでもらえればよし、
こ か
わ
本書を読んで古歌に興味が沸いたなら上記３冊で日本語と日本文学の源流に直接触れることで自らの
日本人／日本文化愛好者としての精神的核心の再確認・再構築にいそしんでもらえればなおよしである。
とどろ
形
あ
る
物
品
かつて「経済力」で世界にその名を 轟 かせた日本は、今、「高品質なハードウェア」だけでは勝ち残れぬ
むけい
しだい
「無形文化時代」にあって、何でもかんでも手当たり次第「これぞまさしく日本が世界に誇る文化遺産！」と
ユ ネ ス コ
ゆうけい
すみつ
はくづ
叫んでは「UNESCO世界遺産」みたいな「有形のお墨付き」による箔付けを求めるという（自信も実力もない
だ き
ちょうしょう
みじ
人間が「資格マニア」に化けるのと同質の）唾棄・嘲笑を誘う惨めなまでの「他者からの高評価による自己肯
かつぼう
しゅうし
むせきつい
定感の渇望充足行動」に終始している・・・真の文化とは最も遠い場所に生息するその種の精神的無脊椎生
物どもが「そうだ！日本には、世界に誇れる＜和歌＞があったじゃないか！」などと叫ぶ事態が（とりあえず
今のところ）起こらずに済んでいるのは、ひとえに「現代日本人には＜和歌＞を解釈するのに必要な＜古
かけことば
えんご
典文法力＞＜古文単語力＞＜短歌修辞法理解力＞＜漢字同音異義語認識力（＝懸詞／縁語理解力）＞
ぶざま
＜詩的共感力＞＜虚構的想像力＞の全てが致命的に欠落している」という不様な付帯状況の保護壁があ
るからこそである・・・こんな非文化的な連中が「＜和歌＞は日本が世界に誇る優れた短編詩！」と叫んでも、
けんとうちが
まぁとりあえずそこまでは（見当違いながら結果的には正しいので）許せるが、トチ狂って「だから＜八代集
みじ
＞を読むべし！」などと叫ばれた日にゃぁ「なんだ、短歌って、実はクズじゃん！」の惨めな結末が待って
わじんれん
いるだけ・・・なので、詩的・文化的素養なき倭人連の事実無根の自画自賛が「真に優れた短歌の名誉」を
ケガ
じつ
汚すことになる前に、機先を制して本書を世に問うことにしたこの筆者としては、「古典的和歌世界の実を伝
じんじょう いちよう
はる
えるに好適な良品選び」に尋常一様ならざる情熱を注ぐと共に、詩的・文化的には日本人より遙かに信頼の
いだ
対 象 読 者 層
置ける「日本文化に興味関心を抱く海外の文化的人間たち」をこそ真のターゲットに見立てて本書を編むこ
さくいん
とにした ― であるがゆえに、本書の内容は（索引を除く）その全てに於いて「現代日本語／英語」対訳形
ぎ こ ぶ ん
よ
あまた
式となっている・・・筆者の本業は「英語教育者」であって「古文教育者・擬古文作者・平安調歌詠み」は数多
ある筆者の知的多重人格のうちの一つなのだ ― そんな本書であるから、日本人英語学習者の「文化＆
いっせき に ち ょ う
語学錬磨の一石二鳥教則本」として用いるもよし、外国の友人に「真に優れた短歌を通して日本古来の季節
じょうちょ
感と情緒を伝える至れり尽くせりの英語版ガイドブック」として使って（あるいは、贈って）もらえればなおよし
とうすい
である・・・が、日本人としての真の文化的核も持ち合わせぬ連中が無根拠な自己陶酔に陥って叫ぶような
きょしょくぼん
まぎゃく
「美しい日本、バンザイ！」的な虚飾本とは真逆の立ち位置の「良いものは良い／悪いものは悪い； それ
み す
ぜ ぜ ひ ひ
を見据えようとせぬ日本人は一番悪い！」という是々非々の日本文化紹介本なので、自らの知的・文化的
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―八代集と本書の関わりについて―
とぼ
こ だ い もうそう
らいさん
ハクチ
質量の乏しさゆえに「誇大妄想的自国（＝代理自我）礼賛」以外受け付けぬ独善白痴的虚弱体質の（＝自ら
かいしょう な
すす
の無根拠な自画自賛への批判に耐える甲斐性無しの）日本人にはお勧めしない・・・自らの文化的伝統を
ホコリ
はら
しんし
こんじょう
しょけん
真に誇るために「無意味な埃 は払い落とす御祓（みそぎ＝身削ぎ）」を望む真摯な知性と根性ある諸賢と
のみ、本書を通して「そうそぅ、これが日本の真の姿！」の発見の喜びの共有を切に望むこの筆者である。
２０１６年３月１１日
・・・あの壊滅的大震災からすでに五年、「新たな道を切り開く」よりも「狭まり行く古い世界にすがりつく」道を
へいそく
あいろ
ころ
おんこちしん
のこ
選んで自己閉塞的排他性隘路を転げ落ち続ける日本人への「温故知新の書」として、これを遺す
之人冗悟（のと・じゃうご：Noto Jaugo）
－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－
＝ How this book relates to Hachidai shuu ＝
八代集(Hachidai shuu), not 八"大"集, is a collective term for the 8 great Imperial TANKA anthologies,
in which 「代(dai)」 stands for "the reign of an Emperor", which does not mean each and every reign of
respective Japanese Emperor had its own TANKA anthology published as an official business at its
Palace. Many Imperial TANKA anthologies were made at the order of ex-Emperors after his 「御代
(miyo＝holy reign)」 was over; Emperor/ex-Emperor Shirakawa gave two orders to compile two
different Imperial TANKA anthologies while he was at the throne and after he left the throne, which
makes it impossible to define 八代集(Hachidai shuu) as 8 different anthologies in the reign of 8
different [ex-]Emperors. As for their contents, it was customary in those days to include songs of mere
celebrities of the day ― not at all masters of the way ― in the Imperial anthologies to give them
prestige as a way of social flattery; prevalence of such snobbery (except in 『古今集:Kokin shuu』)
makes totally absurd the false assumption that 八代集(Hachidai shuu) is a collection of the greatest
poems of respective periods of the Heian era... those who face them (except 『古今集:Kokin shuu』) on
such a false imaginary premise will be disappointed, disillusioned, even feel inclined to deride, resent or
destroy 八代集(Hachidai shuu), which makes me somewhat reluctant to term it 八"大"集(Eight
"GREAT" Imperial TANKA anthologies)... Such being the case, the name does not quite do justice to
the contents, but in the history of Japanese literature, the term 八代集(Hachidai shuu) stands for "8"
Imperial TANKA anthologies compiled at the orders of "7" Emperors/ex-Emperors during "23" reigns
from 醍醐(Daigo: 60th) to 後鳥羽(Go-Toba: 82nd) over “3” centuries from A.D.905 to A.D.1216.
Nowhere in the world of literature does SELECTION have more critical importance than in the field of
短歌:TANKA, especially in the introduction of Imperial TANKA anthologies totally different from a
collection of good poems by a single good poet. Practically every Japanese can easily make no end of
"lyrical prose" by saying anything disregarding rhythms in the comfortable mold of 5・7・5・7・7
letters/syllables, making it extremely difficult to keep up tolerable level of overall quality. "The corpus of
大和歌(Yamato-uta) handing down the noble tradition of the Heian era" is a shamelessly thin veneer
of 八代集(Hachidai shuu) through which its true colors will be clear to see (for those who would try to
peer) ― a hodgepodge of 9,708 songs (9,480 without redundancy) by some 1,300 poets the bulk of
which leaves too much to be desired. Unless someone picks out the very best essence of it to show to
the reading public of later years, they will end up dismissing it saying "TANKA being noble and great?
Bullshit!" As it turns out, most Japanese feel that way: ”川柳(SENRYUU) sounds fine, 俳句(HAIKU) is
not bad, but 短歌(TANKA) is no good or no use to me.!” Just like (English version of) TWITTER in
―How this book relates to 八代集―
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―八代集と本書の関わりについて―
140 cramped letters, 17 letter/syllabled stream of 5・7・5 川柳(SENRYUU) ― 俳句(HAIKU) if rhymed
out with some seasonal phrase in it ― is a difficult platform on which to sound too great or too
shabby: disparity between the good and the bad is small enough for any ordinary person to try it.
While, in the world of 短歌(TANKA or 和歌:WAKA), the hopefully ambitious opening phrase of 5・7・5
(上の句:kami no ku＝upper part) will so often fall miserably flat at the stage of 7・7 (下の句:shimo no ku
＝lower part) ― 腰折れ歌(koshi-ore uta＝songs laid waste at the waist) they call it ― whose
deplorable downfall is plain to see for all... no one wants to see such waste; unless some connoisseur
meticulously gets rid of shabby songs and selects tolerably good ones only, potential readers of TANKA
poetry are sure to go away... needless to say, no makers of TANKA will ever grow. Such self-suffocating
circumstances have been suffered by 短歌(TANKA) for at least as long as a century, as it seems to this
Noto Jaugo
author (之人冗悟… how fortunate it would be if I were wrong!)... there might, of course, be a small
number of dilettantes who assert themselves ardent readers/makers of TANKA poetry, but however or
whatever they assert, in a country where there used to be a time when TANKA reigned supreme above
stories or essays in the world of literature, and in view of the fact that the potentiality of TANKA as a
31-letter/syllable microcosm embracing densely eloquent stories is still alive (untapped) today, this
author does not hesitate to say "the literary genre of TANKA is in the state of dormancy, if
not total death, in Japan at the beginning of the 21st century"... this book is the author's
personal attempt at a breakthrough of such stale status quo of TANKA dormancy, on the strength of
selected TANKA good enough to wake up the Japanese to its potential ― an end result of a whole
year of getting involved in the world of 八代集(Hachidai shuu) all through my waking (sometimes
dreaming) hours in search of its best possible essence to be presented to you.
The life force of this book springs from the quality of its SELECTION. Of 9,480 (non-redundant)
poems included in 八代集(Hachidai shuu), only about 1,000 ones are worthy of introduction before
the eyes of learners of 古文(kobun＝ancient Japanese language) as TANKA(not necessarily as poetry)
― that is what I feel inclined to say as an educator of 古文(kobun); as a person interested in poetry,
literature and culture, no more than 200 TANKA will be found good enough for show with serious
explanation and modern Japanese/English translation; of which as few as 50 poems are the personal
favorites of this author recommendable as ★excellent pieces of poetry or aphorism★ ― the
very core of this book ― supplemented with ●150 recommendable as classical TANKA poems●
culminated into this book. I don’t mean to say that the 200 poems in this book constitute the very best
of 9,480 八代集(Hachidai shuu) songs: quite a few of not-so-good ●TANKA poems instrumental in
introducing Japanese seasonal and emotional tradition● have been intentionally included without
regard to poetic excellence, making it impossible for me to guarantee the overall quality of this book
(except the ★50 personal favorites of the author★). I can guarantee, however, that this is the
best possible book for novice readers of TANKA ― those Japanese to whom the term 八代集
(Hachidai shuu) is a total stranger ― as a decisive introduction to the essence of Japanese classical
TANKA, which will make it practically unnecessary for amateur readers to actually touch any of 八代集
(Hachidai shuu). Unlike the legendary 『小倉百人一首(Ogura Hyakunin isshu)』 which was the
showcase of 100 different poets with respective (not quite respectable) poems, the criterion of this book
is not "the names of poets" but "the quality of poems": with the result that some poets with authentic
genius like 和泉式部(Izumi shikibu) or 西行法師(Saigyou houshi) will appear again and again, while
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―八代集と本書の関わりについて―
you will find quite a lot of poets with no literary fame; poets with no names (詠み人知らず:yomi-bito
shirazu＝anonymous) constitute half of it... this book (and its author) pays respect to the substance, not
to the name ― please just join me in appreciating poetry, not appraising or applauding poets.
This book is "a collection of poems", no "和歌(WAKA) mastery guide": please don't expect it to
be a comprehensive guide on "the technique of TANKA", "ancient Japanese grammar"
or "ancient Japanese words" ― you can expect all those "reference book" functions to be
M a s t e r i n g
W e a p o n
M a s t e r i n g
W e a p o n
perfectly played by 『古文・和歌マスタリング・ウェポン』 and 『古文単語千五百マスタリング・ウェポン』 ―
written by the same author in Japanese (not in English) for students seriously considering taking full
Fusau Tales
marks in Japanese college entrance exams of 古文(kobun); studied along with 『扶桑語り(Fusau
gatari)』 ― 22 short stories centering around TANKA poems written by 之人冗悟(Jaugo Noto) in
the language of Japan 1,000 years ago ― you can read, understand and memorize the 1,500
important terms of ancient Japanese, all the detailed usage of classical 37 auxiliary
verbs and 77 postpositional particles, in the living context of intriguing stories, which this author
guarantees will lead you to the level of excellence in your understanding of Heianese Japanese prose
and verse even beyond your greediest expectations!... That having been said, I recommend this
particular book as a collection of charming poems: if it ignites your interest in ancient Japanese
poetry, just resort to the 3 books above to have direct access to the original streams of Japanese
language and literature, through which to reconfirm and reconstruct your own spiritual core as a
Japanese/a lover of Japanese culture.
Japan, which used to reign supreme over the rest of the world as "an economic giant", is suffering in an
age of "culture with no specific shape" where "mere quality in hardware" guarantees no excellence or
even survival. Even in an age like this, Japan is doing nothing but resorting to "warrants with some
specific shape or name" like UNESCO's WORLD HERITAGE by which to acquire prestige and satisfy
its urge for positive self-image... high esteem by others hopefully supplementing the vacuum of
self-confidence and substantial power desperately sought as if by those intent on chasing one empty
qualification after another... detestably laughable act of those spiritually spineless creatures which place
themselves at the furthest place from authentic culture has not (as yet) touched and tainted the world of
TANKA by exclaiming "Oh yes, Japan still has 和歌(WAKA), the world-class poetry!" ― simply
because the modern Japanese are lethally lacking in intellectual ability needed for TANKA appreciation
― understanding of ancient Japanese grammar, ancient Japanese words, poetic technique of TANKA,
adequate vocabulary of 漢字(KANJI＝Chinese characters) enough to discern homonyms (needed for
the appreciation of 懸詞:kake-kotoba＝puns and 縁語:engo＝associated words in apparently
irrelevant contexts), poetic empathy, fictional imagination ― all these capacities are lethally absent,
which miserable circumstances constitute the protective barrier for 和歌(WAKA) against the empty
applause from cultural morons... when such miserable creatures cry out "和歌(WAKA) as a proud
world-class Japanese heritage", that much is admissible (though groundless, it certainly is true): but
when they go so far as to cry out crazily "You must read 八代集(Hachidai shuu)!", the result will be
disastrous ― those who actually do will end up realizing "the actual bulk of TANKA is bunk!"... This
author knows it only too well; so, he decided to publish this book in order to forestall those Japanese
who will taint the honor of truly excellent TANKA poems by groundless self-praise as a result of their
―How this book relates to 八代集―
-220-
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―八代集と本書の関わりについて―
Noto Jaugo
ignorance of authentic Japanese poetry and culture. That is why this author (之人冗悟) took unusual
pains in selecting the really good poems instrumental in introducing the true substance of classical
Japanese TANKA; he also composed this book in such a way as to be enjoyable by truly cultured people
all over the world who have authentic interest in Japanese culture ― who are much more to be trusted
than ordinary Japanese when it comes to appreciating poetry and culture ― that is the reason all the
contents of this book (except in index) are written both in modern Japanese/English... the main
profession of this author is "a Japanese teacher of English", with whom "an educator of
古文(kobun＝ancient Japanese language), writer of Heianese Japanese prose and
verse" are mere facets of his multiple intellectual personalities. As such, this book can be
used by a Japanese learner of English as a dual-purpose textbook for cultural and linguistic
accomplishment; you can make even better use of it as a guide (or a gift) for your foreign friends which
will tell them (in English/Japanese) the seasonal and emotional makeup of traditional Japanese
culture through really excellent pieces of TANKA. But I will tell you once thing ― no other book could
ever be further from such vanity balloons exclaiming "this beautiful NIPPON, BANZAI!" rapturously
published and purchased by those Japanese who have no real cultural core substantial enough to see
through such empty bravados ― this book is meant to be the antithesis to such dangerously foolish
self-praise of the Japanese, which proudly declares the goodness of the really good while
detecting and denouncing what is bad about Japan, not the least of which is the
Japanese attitude to pretend ignorance of what is bad about their nation... so much so
that those Japanese should refrain from reading it who are so destitute of intellectual and cultural
substance that they simply won't accept anything but megalomaniac accolade of BEAUTIFUL JAPAN
as their alter ego, too much self-righteous and too mentally weak to stand any criticism against their
groundless self-praise ― this book is meant only for those who are earnestly intelligent and mentally
tough enough to willingly go through the process of depriving themselves of groundless and
meaningless vanity, so as to pride themselves upon their authentic cultural heritage ― only along
with such cultured people would I really like to share the genuine discovery of Japan as
it really is through this humbly ambitious book of mine.
March 11, 2016
・・・5 long years after the devastating earthquake, most Japanese have simply refused to open up an
unprecedented new way to a positive new world; instead, they chose to stick to ever-dwindling old
world pushing away their old friends, driving themselves and all around them straight down to
self-suffocating Hell through narrower and narrower exclusive path… I will leave this book as a means
to know where they stand now in the light of their own past ― Hell-bound Japanese may make many
discoveries in it ― good and bad ― if they dare to peer.
之人冗悟（のと・じゃうご：Noto Jaugo）
ち
なほ
よ
ふ
はな
た
を
い
か
つた
かぐは
と
き
散らで猶世に経る花を 手折りてぞ如何で伝へむ香しの過去
unfailing fragrance millennium long smell as you will in this book
… hope you enjoy the smell, sometimes bad, but mostly good
http//zubaraie.com
-221-
―How this book relates to 八代集―
http://zubaraie.com
― about the
←合同会社ズバライエ(ZUBARAIE LLC.)ホームページ
author of this book (本書の著者について)
―
Jaugo Noto is a professional educator in linguistics, who makes
it his business to enable students to see, do, or be what he’s been
through and what he can see through, in ways other humans have
never imagined or even thought possible. His field of business
activity ranges from modern English to ancient Japanese,
developing not so much on paper or in the flesh as on the WEB
currently.
之人冗悟（のと・じゃうご）は語学教育の専門家。彼本人の実践・予見の体験を、学生
にも認識・実践・体得させること（それも、他者が想像もせず、不可能とさえ思っていた
方法で可能ならしめること）を仕事とする彼の活動の幅は、現代英語から古典時代の
日本語まで多岐に渡る。現在、紙本執筆や生身の授業よりインターネット上での事業
展開が主力。
Limited Liability Company
― about ZUBARAIE LLC. （ 合 同 会 社 ズバライエについて） ―
ZUBARAIE LLC. was established in Tokyo, Japan, on July 13th (Friday), 2012,
as a legal vehicle for Jaugo Noto to perform such services as education,
translation, publication and other activities to help enlighten people.
ごうどうがいしゃ Z u b a r a i e
お ま け に
仏 滅
のと・じゃうご
合同会社ズバライエ は、２０１２年７月１３日（金曜日）、日本国の東京にて、之人冗悟
けいもう
すいこう
が教育・翻訳・出版その他の啓蒙活動を遂行するための法的枠組として設立された。
うたかた
ち よ た い か
「歌型二百（千代苔歌）：UTA-KATA200(Millennium Moss)」
ISBN 978-4-9906908-5-4
Copyright © 2016 by Jaugo Noto
1st edition published from ZUBARAIE LLC. 2016/03/11
大学入試「古文」／「英文法」に完璧を期す受験生には理想的な自学自習 WEB レッスンあり：
ふ さ う が た
＊『扶桑語り』（古典文法／古文単語／読解力総合講座）→http://fusaugatari.com/
＊『英文法＋Ｑ＆Ａ』（体系的英文法学習講座）→http://furu-house.com/
＝
also from the same author
之人冗悟(Jaugo Noto)
＝
Beneath Umbrella of Zubaraie
LLC.
『でんぐリングリッシュ：英・和 対訳版』ISBN 978-4-9906908-0-9
日本の初学者&再挑戦者に贈る、英語を真にモノにするための心得（英文／和訳見開き対訳本）。
・・・本書一冊では効果半減：『英文解剖編』との併用により、真の英文解釈力の開眼を図るべし。
『でんぐリングリッシュ：英文 解剖編』ISBN 978-4-9906908-1-6
こ こ ん み ぞ う
同書の全英文を、解剖学的解釈の詳細な構造図で「可視化」した古今未曾有の英文読解指南書。
真似
英語がこの形で「見える」ようになることこそ、全学習者の理想形・・・よーく見て、マネぶべし。
『古文・和歌マスタリング・ウェポン』ISBN 978-4-9906908-2-3
ほうふくぜっとう
ご
ろ
大学入試で出題される古文と和歌の知識を完全網羅。暗記必須事項は抱腹絶倒の語呂合わせで、
重要事項の全ての暗記＋確認は巻末穴埋めテストで、調べ物は詳細な索引で、完全サポート。
『古文単語千五百マスタリング・ウェポン』ISBN 978-4-9906908-3-0
充実の語義解説で大学入試古文にも和歌・古文書解釈にも不自由を感じぬ完璧な古語力を養成。
ふくいん
入試得点力に直結する受験生の福音書にして、日本語・日本文化への目からウロコの知識の宝庫。
ふさうがた
『扶桑語り(Fusau Tales)：古文・英文・現代和文対釈』ISBN 978-4-9906908-4-7
『古文単語千五百』の全見出語１５００（＋平安助動詞３７＆平安助詞７７全用法）で書かれた２２編の
擬古文歌物語で『古文・和歌マスタリングウェポン』の説く古典読解法の実践を図る英和古対釈本。
http://zubaraie.com