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THE UNIVERSITY OF CHICAGO
BEYOND SHASEI, BEYOND NATURE:
IDEALISM AND ALLUSION IN THE POETRY OF
SHIMAZAKI TŌSON, DOI BANSUI, AND YOSANO AKIKO
A DISSERTATION SUBMITTED TO
THE FACULTY OF THE DIVISION OF THE HUMANITIES
IN CANDIDACY FOR THE DEGREE OF
DOCTOR OF PHILOSOPHY
DEPARTMENT OF EAST ASIAN LANGUAGES AND CIVILIZATIONS
BY
NICHOLAS EUGENE ALBERTSON
CHICAGO, ILLINOIS
AUGUST 2013
UMI Number: 3595876
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INFORMATION TO ALL USERS
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a note will indicate the deletion.
UMI 3595876
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© 2013 by Nicholas Eugene Albertson
All rights reserved.
TABLE OF CONTENTS
ABSTRACT
v
ACKNOWLEDGMENTS
vii
INTRODUCTION
Nature and Romanticism in Meiji Literature
Tōson and Bansui with Akiko
Citation in Traditional Japanese Poetics
Poems in a New Style for a New Age
Shimazaki Tōson’s Seedlings
Doi Bansui’s Nature Has Feelings
Yosano Akiko’s Tangled Hair
Outline of Chapters
1
7
13
15
18
26
35
43
46
CHAPTER ONE: MELTING INTO SHIMAZAKI TŌSON’S POETIC LANDSCAPES
Nature and the Poet: Two Essays on Poetry Before Seedlings
The 1904 Preface to Tōson’s Collected Poems
Tōson’s Poems Enter the Landscape
Tōson: Naive or Sentimental?
“Song of the Autumn Wind”: An Ode to Entropy
“Pillow of Grass”: Metonymic Metabolism of Figure and Landscape
“Rambling Through the Deep Woods”: Melting into Landscape
Postlude: Towards Chikuma River
50
53
64
66
70
74
77
83
93
CHAPTER TWO: DOI BANSUI’S REFLECTION OF AN ABSENT IDEAL
Doi Bansui’s Background
Bansui’s Ideal Poet
Through the Immeasurable All
Kage: The Reflection of Nature
Echo as Kage
Conclusion: Idealized Nature, Not Naturalism
97
102
106
119
131
138
149
CHAPTER THREE: TANGLED KAMI: YOSANO AKIKO’S
SUPERNATURAL SYMBOLISM
Supernatural Obstacles and Outlets
Ren’ai
The Trouble with Biographical Explanations for Akiko’s Poems
Entangled Tanka in Tangled Hair
Ideals
Kami
Tsumi: I’ve Got You Under My Sin
iii
153
156
159
173
186
191
196
203
Conclusion: Beyond Feminine Poetic Heritage and True Feelings
CONCLUSION
212
215
APPENDIX: ENGLISH TRANSLATIONS OF SELECTED POEMS
A. From Shimazaki Tōson’s Seedlings (若菜集: Wakanashū, 1897)
1. Song of the Autumn Wind (秋風の歌: Aki kaze no uta)
224
2. Rambling Through the Deep Woods (深林の逍遥: Shinrin no shōyō)
226
3. Pillow of Grass (草枕: Kusamakura)
232
4. Springtime of Easy Sleep (眠れる春よ: Nemureru haru yo)
237
5. Parting (別離: Betsuri)
238
6. Under an Umbrella (傘のうち: Kasa no uchi)
240
7. Two Voices (二つの声: Futatsu no koe)
241
8. Nostalgia (望郷: Bōkyō)
242
9. Fierce Rivals (強敵: Kyōteki)
243
10. Autumn (秋: Aki)
243
B. From Doi Bansui’s Nature Has Feelings (天地有情: Tenchi ujō, 1899)
1. Moon on the Castle Ruins (荒城の月: Kōjō no tsuki)
245
2. Poet (詩人: Shijin)
246
3. The Universe and the Poet (萬有と詩人: Ban’yū to shijin)
247
4. Evening Thoughts (夕の思ひ: Yūbe no omoi)
252
5. Evening Bell (暮鐘: Boshō)
258
6. Cherry Tree By the Riverbank (岸邊の櫻: Kishibe no sakura)
263
7. The Moon and Love (月と戀: Tsuki to koi)
264
8. The Eagle (鷲: Washi)
265
9. Hirose River (廣瀬川: Hirosegawa)
266
10. A Hope (希望: Kibō)
267
11. Night and Sleep (「暗」と「眠」: ‘Yami’ to ‘nemuri’)
268
12. Untitled (無題: Mudai)
269
13. Lament (哀歌: Aika)
269
BIBLIOGRAPHY
272
iv
ABSTRACT
This dissertation examines the early poetry of Shimazaki Tōson (1872-1943), Doi Bansui
(1871-1952), and Yosano Akiko (1878-1942), three writers who took Japanese Romantic
poetry to its height in the late 1890s and early 1900s. Instead of following the realistic
trend of shasei (sketching from life), each of these poets pursued a lyricism that sought
ideals of nature and mined poetic allusions from classical Japanese, classical Chinese,
and European Romantic predecessors. Their conceptual and intertextual commitments
thus go beyond shasei and beyond nature.
The introduction analyzes the discursive context surrounding concepts of nature
and Romanticism, the traditional use of citation and allusion in Japanese poetics, and
the development of shintaishi (new-style poetry) alongside tanka in the Meiji period
(1868-1912).
Chapter one investigates poems from Shimazaki Tōson’s Seedlings (Wakanashū,
1897) that concern the poetic speaker’s absorption in and alienation from wild nature.
The nature of Tōson’s poems, however, is always an idealized landscape viewed through
a traditional cultural prism, mediated by poetic allusion, and described in refined
diction; indeed, that is why nature can be a source of happiness and completeness.
Chapter two takes up poetic meditations on the ideal role of the poet in relation
to nature in Doi Bansui’s Nature Has Feelings (Tenchi ujō, 1899). In the ironic stance
of non-poets, Bansui’s poetic speakers curate the insights of a global gallery of poetic
predecessors. These poets’ mystifications of nature in the end are hopeless, but the
remaining palimpsest of lost ideals is itself an inspiring mix of shadows and echoes. The
v
poems thus suggest that the ideal aim of the poet is neither realism nor idealism, but a
course that charts and preserves the fissures between the two.
Chapter three examines how the tanka in Yosano Akiko’s Tangled Hair
(Midaregami, 1901) use supernatural symbolism to entangle the modern discourse of
love (ren’ai) as a spiritual ideal with classical poetic tropes. Deities, sin, and other
supernatural and religious elements are prominent in Akiko’s poetry, but they have
largely been overlooked by scholars who seek biographical explanations for her verses.
By invoking multiple, often contradictory ideals of the natural and the supernatural,
Akiko made the wavering possibility of liberation from traditional sexual mores seem
dangerous and exciting, while her allusive yet passionate diction brought about a
revolution within the tanka form.
A brief concluding chapter ties together the poetic strategies of Tōson, Bansui,
and Akiko through the meditations on nature and art by the narrator of Natsume
Sōseki’s (1867-1916) novel Pillow of Grass (Kusamakura, 1906), then considers how
Romantic lyric poetry gave way to Symbolism and Naturalism. An appendix presents
English translations of shintaishi from Tōson’s Seedlings and Bansui’s Nature Has
Feelings, most of which have never been published in translation.
vi
ACKNOWLEDGMENTS
I am pleased to take this opportunity to thank the many individuals who have supported
me intellectually, practically, and compassionately, who in the end have made this
dissertation possible. I am grateful to my dissertation committee members for their
patient guidance as this project has developed. The chair of my committee, Michael
Bourdaghs, has tirelessly given of his expertise, practical insights, and encouragement,
and it has been a great privilege to work with him. Norma Field continues to inspire me
as a writer, scholar, and human being, and to remind me not to separate those aspects in
myself. Hoyt Long has generously found the potential in my work and helped me steer
towards it.
Along the way, many other faculty members at the University of Chicago have
been a tremendous resource, as well. I am especially grateful to Kyeong-Hee Choi,
Gregory Golley, Reginald Jackson, Hiroyoshi Noto, and Yōko Katagiri.
I am very grateful to the Department of Japanese Literature at Tōhoku University
in Sendai for welcoming me to conduct research there from 2009 to 2010. I especially
thank Prof. Satō Nobuhiro for his expert guidance when I was getting my project off the
ground. The graduate students in the department, especially my mentors Kishimoto
Yōsuke and Terakubo Kenshi, helped me with many practical research matters and in
studying the poetry.
Thanks go to Prof. Esther Klein, the Asian Studies and History departments, and
the wonderful students at the University of Illinois at Chicago, for helping me grow as a
teacher of Japanese history and culture. I also thank the Graham School of Continuing
vii
Liberal and Professional Studies, especially Marissa Love, Jan Watson, and the
dedicated and curious students, for sharing journeys through the Japanese literary
canon that included many of the poems and Natsume Sōseki’s Kusamakura.
I am grateful to the staff at the Center for East Asian Studies, especially Sarah
Arehart; to Dawn Brennan in the Department of East Asian Languages and Civilizations;
and to Brooke Noonan, Director of Graduate Student Affairs.
This dissertation was completed with the assistance of a Fulbright-Hays Doctoral
Dissertation Research Abroad Fellowship and a series of Foreign Language and Area
Studies (Title VI) Fellowships, both from the United States Department of Education, as
well as a Toyota Dissertation Writing Fellowship and other funding from the Center for
East Asian Studies at the University of Chicago.
I thank the journal Inventory for allowing me to reprint translations of Doi
Bansui’s “Poet,” “Untitled” (printed as “A Garden Brimming With Perfume”), and
“Lament,” which appeared in Inventory 1 (2010), and Doi Bansui’s “Evening Bell,”
which appeared in Inventory 3 (2012).
My fellow graduate students have been a constant source of fortitude and
balance. I have been lucky to share parts of the journey with Kathryn Tanaka, Jae-Yon
Lee, Sarah Allen, Jonathan Glade, Tomoko Seto, Joshua Solomon, John Person, Mika
Endo, and Mamiko Suzuki. Kelly King-O’Brien was a superb mentor at the Writing
Program.
Finally, I thank my family for their love and support. My mother, Margot
Thomas, who always believes in me, has shown me how to be passionate and take risks.
My brother and sister-in-law, Matthew and Vani Konda, have made living in Chicago a
viii
joy from day one. My sister, Elizabeth Albertson, has helped me steer my cynicism in
less self-defeating directions. My step-mother, Debra Boutin, has offered invaluable
perspective and advice to keep me sane. Most of all, Scott Mehl has been my sine qua
non.
I dedicate this dissertation to our memories of my father, Michael Albertson
(1946-2009). I suppose I owe my career in Japanese studies partly to the serendipity of
a mathematics conference he and my mother attended in Kyoto, and partly to the model
of a professor’s life that he showed me. I miss his grace, wisdom, and humor every day,
and I wish I could keep walking this path of philosophy with him.
ix
INTRODUCTION
Let us begin our investigation into the scope of Romantic poetry of the Meiji period
(1868-1912) with the following poem by Doi Bansui (土井晩翠, 1871-1952), from his
collection Nature Has Feelings (天地有情: Tenchi ujō, 1899). What would Japanese
readers have made of it in 1899? What do we make of it now?
A Spray of Flowers
1
花一枝
Following the poet who picked flowers
ラインの岸に花摘みて
On the banks beside the Rhine
別れし友に贈りけむ
To give to a distant friend,
詩人を學びわれもまた
I pick for you a spray of evening’s cherries.
君に一枝の夕ざくら。
The morrow’s willows sobered by dew
あしたの柳露にさめ
And evening’s cherries drunk on the breeze—
ゆふべの櫻風に醉ふ
Embody just a little longer
都の春の面影を
The capital’s display of spring.
せめては忍べとばかりに。
The coursing railroad’s end is far,
通ふ鐵路も末遠く
City’s spring is village winter—
都の春は里の冬
Will you wilt, o flowers, before
玉なす御手に觸れん前
You reach her precious hands?
萎み果てむかあゝ花よ。
Though you would hollowly discard
萎み果てなむ一枝を
The spray of wilted flowers, instead
空しく棄てむ君ならじ
Dye them the color of your heart
心の色に染めなして
And place them by your chamber window.1
寢覺の窓にゑましめよ。
Except where noted, all translations into English in this dissertation are mine. For full
texts of poems by Shimazaki Tōson and Doi Bansui, please see the Appendix.
1
First, it is a poem in four quatrains, and each line has twelve syllables with a caesura
after the seventh syllable. We may not give much thought to the regular structure of
what seems to be a short poem. But this was still a new enough device in 1899,
especially relative to the long history of other poetic forms, that it was not yet
anachronistic to call it a “new-style poem” (新体詩: shintaishi). 2
Second, the poem adopts an exotic, not to say abstruse, tone from the very first
word, “Rhine” (ライン). The mention of the Rhine, along with the “coursing railroad,”
would have lent a Romantic, and even modern, flavor to the poem, but would readers
have had any idea who this poet was who picked flowers on the Rhine? Even today the
allusion must escape those not armed with an annotated edition of the poem. Bansui
did not explain the allusion in an endnote, though he did explain other obscure
references that way. Must readers know or be told the reference in order to appreciate
the poem? Kubo Tadao helpfully points to George Gordon Byron’s (1788-1824) Childe
Harold’s Pilgrimage (1812-18), in which the narrator picks lilies by the Rhine to send to
2
For convenience, in this work I shall use the Japanese shintaishi to refer to new-style
poems. The oldest poetic forms include tanka (短歌: short poem), also called waka (和
歌: Japanese poem); chōka (長歌: long poem); and kanshi (漢詩: Chinese poem). The
late Heian period (795-1185) saw the rise of linked verse (連歌: renga); and by the early
Tokugawa period (1600-1867), the opening verse (発句: hokku) of a renga sequence
became viable as a stand-alone form, which we now call haiku (俳句: light verse). For
more on the development of poetic forms in the Meiji period, see the section “Poems in a
New Style for a New Age” below.
2
his love far away, although he knows that they will surely wilt before she receives them. 3
Meanwhile, the up-to-date exoticism is accentuated by these words’ juxtaposition with
tropes more familiar to readers of traditional Japanese poetry: the delayed arrival of
spring in the mountains, and the association of willows and cherries with Kyoto’s
“display of spring.” Kubo again points us to a useful precursor, the poet Sosei (素性,
dates unknown) from the Collection of Waka Old and New (古今和歌集:
Kokinwakashū, compiled ca. 905; hereafter abbreviated to Kokinshū): 4
Kokinshū
Looking out over
見わたせば
56
the willows and cherries
柳桜を
twining together
こきまぜて
into a brocade—
都ぞ春の
springtime in the capital
錦なりける
Bansui’s poem is at once a brocade of familiar tropes—picking flowers by the Rhine,
willows and cherries in the capital, spring coming sooner to the capital than to the
mountains—and an original contribution that mixes the Rhine with Kyoto, distance
from a lover with rail travel. If the poem is a synthesis of Byron and Sosei, what is
Bansui’s original contribution? Do we read the poem above as if no one had ever
expressed its particular sentiments or crystallized the same observations into words? Or
do we read it as if nothing articulated in it had not been seen, thought, and spoken in
3
Kubo Tadao, Matsumura Midori, and Ishimaru Hisashi, eds., Doi Bansui, Susukida
Kyūkin, Kanbara Ariake shū, vol. 18 of Nihon kindai bungaku taikei (Japanese modern
literature set) (Tokyo: Kadokawa shoten, 1972), 90. Bansui published his translation of
Childe Harold’s Pilgrimage in 1924. Doi Bansui Kenshōkai (Association for honoring
Doi Bansui), Doi Bansui: Eikō to sono shōgai (Doi Bansui: Glory and life) (Sendai:
Hōbundō, 1984), 267.
4
Kubo, Doi Bansui, 91.
3
some way? By asking these questions—and by noting how difficult it is to avoid asking
them—we recognize that we may have a bias for poems that seem to say something new,
and to say what they say in new ways.
More fundamentally, I ask these questions of Bansui’s poem above as a way to
begin a discussion about how we read poems—especially poems that do not readily offer
their secrets up to us. I do not intend to place the blame on readers if a poem fails to
speak to them, or to celebrate poems simply because they have become impenetrable
over time. I do, however, want to rekindle an interest in a branch of poetic experiments
that thrived on complexity of thought, diction, and form—precisely the kind that
flourished in the heady literary climate of the Meiji period, among reader-poets who
eagerly but cautiously expanded the frontiers of poetic ideals.
The success in the late 1890s of young Japanese poets like Doi Bansui, Shimazaki
Tōson (島崎藤村, 1872-1943), and Yosano Akiko (与謝野晶子, 1878-1942) can be tied to
readers’ and critics’ endorsements of their calculated breaking with conventions. The
corollary of this is that their perpetuation to varying degrees of traditional rhythms and
diction can be seen, if not as concessions to wary readers, then as a way of anchoring
their works in a certain level of familiarity and decorum. Another way of putting it
might be that, as Raymond Williams remarks of the Renaissance and Romantic
movements, “there was a strong appeal to revival: the art and learning, the life of the
past, were sources, stimuli of a new creativity, against an exhausted or deformed current
order.” 5 That familiarity was especially useful in the context of the wave of literary
5
Raymond Williams, The Politics of Modernism: Against the New Conformists (New
York: Verso, 1989), 52. Emphasis in original.
4
translations and adaptations from poems in European languages. For, as I shall discuss
below, translation and adaptation into Japanese were a major catalyst for stylistic
changes that swept through the literary world in the mid-Meiji period.
These three poets, and especially their respective first collections of poetry,
constitute a high point in Romantic poetry and a turning point in Japanese poetry in
general. Their combined use of classical Japanese and Chinese imagery and diction with
modern sensibilities and concerns should not be seen as mere weakness or
inconsistency. Rather, it reflects their concern with balancing execution (tradition) with
(individual) expression, and it proves their ability to synthesize diverse aesthetic,
philosophical, and moral elements into unique poetry that is both of its time and of
enduring value.
More fancifully, we might say that new poetic styles evolve and move into new
territories, where they seek to find new niches in the literary ecosystem. In doing so,
they change that very ecosystem. Species of poems, like species of organisms, obviously
do not intentionally seek such ecological niches. 6 Rather, it was poets, such as those in
this study, who did so—by choosing which texts, symbols, diction, and cultural values to
perpetuate, and which invasive literary species to introduce.
This dissertation is, above all, a celebration of literature and what it can do; not in
its eloquent elaboration of injustice, thought it may sometimes do that, nor in the
ideologies it betrays (in either sense of the word “betrays”). For I do not pretend that
6
Still, I embrace the analogy of the two, in part because they reflect processes that call
to mind the Japanese etymology of shizen (自然), the word most often used to translate
the English “nature,” as a “self-becoming.”
5
poetry is free of ideology or of the circumstances of its production. Indeed, poetry is
very much part of the superstructure of society. But I do not believe a socially “engaged”
scholarship will help solve the world’s problems any better than a “naive” one, and in
fact a greater intimacy with literature on other terms may do more for our struggling
civilization. As Herbert Marcuse has argued, art can be much more thoroughly
revolutionary in indirect ways than it can in direct ways. 7 Likewise with criticism?
My method, then, includes what someone said about reading many works to have
more texts to “bounce off” each other. 8 Lyric poetry is about things—love, death,
parting, landscapes—and we must find a balance between focusing on how it says those
things (as if those things were always the same), and ignoring the how to focus on the
things themselves. Poetry is also and especially a method where the how is glorified,
and so, much more so than with prose, the how is not to be discarded lightly. Moreover,
the how is itself part of the what. Michael Riffaterre wrote that poetry says by
indirection. 9 How it says, and how it does not say, what it says and does not say, can
become fertile areas for study. Naturally, a poem does not say an infinite range of
things, but its ambiguity in what it may say is contestable. The poetry of the late Meiji
period benefits from an increase in ambiguity and contestable meanings. Specifically, I
am concerned with the poetry of the powerful tide of what we may call Romanticism,
and the contestable meanings of what we may call nature.
7
See Herbert Marcuse, The Aesthetic Dimension: A Critique of Marxists Aesthetics
(Boston: Beacon Press, 1978).
8
9
It is my misfortune that I cannot remember how this idea, not my own, bounced to me.
See Michael Riffaterre, The Semiotics of Poetry (Bloomington, IN: Indiana University
Press, 1978).
6
Nature and Romanticism in Meiji Literature
The literary moment of Japan in the 1890s, against a backdrop of greater
ambivalence towards Westernization, saw a proliferation of literary journals, continuing
influx of literature from abroad, and ongoing struggles over language reform. Amid all
this discursive upheaval, the Meiji period was also an era in which many discourses of
nature collided, including neo-Confucian, nativist, various scientific, Western, and
Romantic. Among these, we find a range of meanings associated with nature, from
analogue of human culture to all-encompassing universe, from conservative morality to
progress, from evolution to stagnation, from freedom to corporeal imprisonment, from
universally applicable to locally unique laws and values. Ideological debates over
nation-building, natural rights, and Herbert Spencer’s (1820-1903) social theory were
infused with complex, shifting discourses of nature, as Julia Adeney Thomas has
demonstrated. For Thomas, “nature” is different things at different times, but it is
always seen as an “unchallengeable standard outside the exigencies of the moment.” Its
ideological power derives precisely from “the belief in the permanency and
unchangeability of an idea, particularly a relatively unmarked, unexamined idea like
nature.” 10 Thomas summarizes what she sees as the three main stages of thought about
nature since the Tokugawa period. First, there was the idea that “the static, hierarchical
10
Julia Adeney Thomas, Reconfiguring Modernity: Concepts of Nature in Japanese
Political Ideology (Berkeley and Los Angeles: University of California Press, 2001), 80,
8. See also Morozumi Katsuo, “Tōzai shizen-kan no hikakuteki kōsatsu: Shizen, kono
shirarezaru mono” (A comparative inquiry into Eastern and Western views of nature:
Nature, this unknowable thing), in Kindai shisō, bungaku no dentō to kakushin
(Tradition and revolution in modern thinking and literature), ed. Itō Kazuo (Tokyo:
Meiji shoin, 1986), 117-132.
7
pattern of the physical cosmos promised universal social harmony if social forms
accorded with the model provided by the external world.” 11 This is based on Zhu Xi
Confucian philosophy, in which nature is tenri (天理), the “order of the universe.” 12 It
thus encompasses both heavenly and human principles. According to this view, “nature
and culture are not opposing realms, not even analogous realms, but the same realm
because the same metaphysical essence inheres in both the physical world and human
society, giving order to each despite different superficial manifestations.” 13 Second, by
the 1870s, Thomas sees that “nature was everywhere in flux, driving toward social
Darwinism’s progressive future with the natural hierarchy produced by fierce
competition rather than by harmoniously arranged orders of being.” 14 Katō Hiroyuki
(加藤弘之, 1836-1916) followed Spencer’s notion of the survival of the fittest in society,
before Charles Darwin’s (1809-1882) theory of natural selection had reached Japan.
Spencer’s ideas, Thomas reminds us, fueled both politically progressive and reactionary
arguments. Finally, by the 1930s, Thomas says, “the changeover to a nationalized
nature, no longer progressive or even universal, was complete. . . .Japan existed in a
coalescent intimacy with a nature known to itself alone.” 15 Thus, the three stages
leading up to the Second World War are “nature as place, nature as time, and nature as
11
Thomas, 30.
12
Thomas, 316.
13
Thomas, 316.
14
Thomas, 30.
15
Thomas, 30.
8
nation.” 16
Meiji-era discourses of nature infected literary theory and practice, as well.
Takahashi Masako points to the years around 1900 as a time when “‘nature’ [自然:
shizen] was of the highest concern in modern Japanese literature.” 17 On the one hand,
realists led by Masaoka Shiki (正岡子規, 1867-1902) adopted a painterly concern with
“sketching from life” (写生: shasei), an ideal of copying nature exactly as it appears.
Others such as Shimazaki Tōson instilled nature with Romantic values.
To use the word “Romantic” in the Japanese case is problematic, first, because of
Meiji Japan’s distance in space, time, and discourse from its European antecedents. In
the European case, to speak broadly, Romanticism has been described as a reaction
against Enlightenment science, and at the same time as a product of the American and
French revolutions. Takahashi observes that
modern European society had developed a contradictory understanding of
nature, one that controlled and demolished nature for the sake of material
civilization, on the one hand, while seeking to extend fulfillment through a
sense of all nature (including humans) as the body of life, on the other
hand, having discarded the Christian view of life as springing from God. 18
It would appear that Japan’s case had nothing philosophically in common with the
West. Then again, Japanese culture in the 1890s was beginning to see the first waves of
reaction against the earlier embrace of rationalistic science and technology, and the
16
Thomas, 30.
17
Takahashi Masako, Shimazaki Tōson: Tōi manazashi (Shimazaki Tōson: Distant
views) (Osaka: Izumi shoin, 1994), 236.
18
Takahashi, 236.
9
People’s Rights Movement (自由民権運動: jiyū minken undō) had culminated by the
end of the 1880s in the Meiji Constitution and the creation of the first Diet. Those
political conditions and discourse may have contributed to the adoption of Romantic
approaches. As Yoshida Seiichi points out, “The Romantic spirit [of the Meiji period]
first appeared as a political thing, and then it shifted into a literary thing.” 19 As in the
West, Yoshida argues, Japanese Romanticism was “less a product of a pure Romantic
mentality, and more the fruits of an Enlightenment mentality.” 20
The Romantic poetry here explored is, moreover, a celebration of the power of
imagination over reason, against the deterministic undercurrents of “objective
description,” whose symbolic power in resorting to “nature” leaves the speaking subject
in a prison of fatalism and insignificance. Finally, and most pertinently for our
concerns, Romanticism in Japan blossomed primarily as a result of contact with
European literary Romanticism. Works of Johann Wolfgang von Goethe (1749-1832),
William Wordsworth (1770-1850), Byron, and others were translated into Japanese, and
many of the greatest practitioners in Japan, such as Mori Ōgai (森鴎外, 1862-1922),
studied the works in their original languages. It was Ōgai, incidentally, who coined the
term romanchikku (羅曼底格) in 1898, when, in his literary magazine Grasses of
Awakening (めさまし草: Mesamashi-gusa), he described Friedrich von Schlegel
(1772-1829) as a “poet of the Romantic school” (羅曼底格派詩人: romanchikku ha
19
Yoshida Seiichi, Kindai Nihon romanshugi kenkyū (Modern Japanese romanticism
studies) (Tokyo: Shūbunkan, 1943), 15.
20
Yoshida, 16.
10
shijin). 21
In the mid-Meiji period, meanwhile, the cultural elements that gave birth to
Romanticism overlapped with the advocates for women’s education and enlightenment.
In the Japanese case, nationalistic goals colored the early advocacy of these priorities,
and Christian activists went on to establish important educational institutions and
publishing outlets. The national utility of educating women was evident in the shift of
catchphrases from “respect men, denigrate women” (男尊女卑: danson johi) towards
one of “good wives, wise mothers” (良妻賢母: ryōsai kenbo). The shift was pioneered,
according to Michael C. Brownstein, by members of the Meiji Six Society (明六社:
Meirokusha) such as Fukuzawa Yukichi (福沢諭吉, 1835-1901) and Mori Arinori (森有
礼, 1847-1889).22 Brownstein also points out that the reformer Iwamoto Yoshiharu (巌
本善治, 1863-1942), who established Women’s Learning Magazine (女学雑誌: Jogaku
zasshi) in 1885, promoted women’s writing and reading of literature. “Literature that
illustrated this principle” of society’s evolution towards moral perfection, Brownstein
writes, “would lead civilization to its moral destiny; literature that did not, however well
21
Grasses of Awakening was edited by Ōgai, Kōda Rohan (幸田露伴, 1867-1947), and
Saitō Ryokū (斎藤緑雨, 1867-1904), and it ran from 1896 to 1902. See Sasabuchi
Tomoichi, Rōmanshugi bungaku no tanjō: “Bungakkai” o shōten to suru rōman shugi
bungaku no kenkyū (The birth of Romantic literature: “Literary world” as the focus of
Romantic literature studies) (Tokyo: Meiji shoin, 1958), 5.
22
Michael C. Brownstein, “Jogaku Zasshi and the Founding of Bungakukai,”
Monumenta Nipponica 35:3 (1980), 320.
11
written, should be condemned as both immoral and unrealistic.” 23 To be fair, Iwamoto’s
moralistic prescription for literature applied equally to women and men. Moreover,
Women’s Learning Magazine attracted readers and writers of both genders. For that
reason we may surmise that, in spite of still-pervasive sexist opinions on the different
intellectual and emotional faculties of men and women, there was not a very clear
privileging of men’s literature over women’s literature. Rather, the high-low distinction
in literature seems to have applied more to the difference between the low gesaku (戯作:
light fiction), which dates back to the Tokugawa period (1600-1867), and the high
novel. 24
Fortunately, Japanese poetry scholars have generally been catholic in their
characterizations of literary movements. Even when their particular scholarship may lie
more narrowly in a certain form, such as tanka, or a movement, such as Romanticism,
they will conscientiously acknowledge the broader literary milieu in which their subjects
reside. Ōta Seikyū, for example, examines the shift in poetic standards across both
shintaishi and tanka, and he finds a particularly strong intersection of the two in the
influence of Tōson on Akiko. 25
23
Brownstein, 324. For Iwamoto’s inconsistent support of women’s rights, see Marnie
S. Anderson, A Place in Public: Women’s Rights in Meiji Japan (Cambridge: Harvard
University Press, 2010), 117-18, 176-77.
24
We may ignore, for the moment, that the term adopted for “novel,” shōsetsu (小説),
means “small discourse” and repurposes the pejorative term in Chinese (xiaoshuo) for
stories as opposed to higher poetry.
25
Ōta Seikyū, “Shintaishi no shigeki to waka kakushin” (The stimulus of shintaishi and
tanka reform), in Meiji tanka no bungaku chōryū (Literary currents of Meiji tanka),
compiled by Meiji Jingū (Tokyo: Tanka shinbunsha, 1996), 54, 58-59.
12
Tōson and Bansui with Akiko
Shimazaki Tōson’s journeys into intersubjective landscapes, Doi Bansui’s
investigations into the ideal role of the poet, and Yosano Akiko’s borrowed religious
formulae are all ways of pointing beyond putatively authentic expression and objective
description as possible goals of a poem. 26 They are also ways of pointing beyond reified
understandings of nature. Although the poets are not consistent or direct in their
treatment of nature, we may posit the following types of nature in their poetry: Tōson’s
nature is an ideal that is emotionally accessible through allusive lyricality; Bansui’s
nature is a composite shadow of an intertextual ideal, valuable in its absence thanks to
the intervention of perspicacious poets; and Akiko’s nature is a tangled aesthetic and
moral order, invoked in an often ironic tension with the use of supernatural symbolism.
For all three, then, nature is a source of passion.
The pairing of shintaishi by Shimazaki Tōson and Doi Bansui is perhaps
unremarkable, but the addition of Yosano Akiko’s tanka to the mixture may appear
illogical. It is therefore important to address the strategy of including Yosano Akiko’s
tanka in this study. Had shintaishi and tanka reform developed independently of each
other in the middle Meiji period, there would still be good reason to compare them
thematically, stylistically, rhetorically, and otherwise. At the same time, a study that
explicitly questioned the effect of formal differences between shintaishi and tanka could
easily displace the questions central to this study. In light of the prominent roles that
26
They also point beyond Tōson’s parroted formula of Wordsworth’s “emotions
recollected in tranquillity,” to which we shall return in the following chapter. Indeed, we
readers must be on our guard to avoid reading the poems as straightforward
biographical insights, and to avoid taking the poets’ explanations at face value.
13
poets like Yosano Tekkan (与謝野鉄幹, 1873-1935) and magazines like Morning Star
and Literary World played in reforming both shintaishi and tanka, then, it is even more
suitable to consider them in a more fluid, broadly envisioned literary environment.
Furthermore, I hope that by examining Akiko’s tanka we may remind ourselves of
the dangers of an unself-consciously male historical bias in narrating and judging the
cultural climate. By comparison, speaking of what is happening in Europe at the same
time as our Japanese poets were making their debuts, Andreas Huyssen observes that
“the political, psychological, and aesthetic discourse around the turn of the century
consistently and obsessively genders mass culture and the masses as feminine, while
high culture, whether traditional or modern, clearly remains the privileged realm of
male activities.” 27 What Huyssen might have gone on to stress was that the discourse
skews the reality of production and consumption of works of “high” or “mass” culture.
Anne K. Mellor finds exactly such skewed narratives in the study of British Romantic
literature. She notes that the later canonization of six male poets—William Blake
(1757-1827), Wordsworth, Samuel Taylor Coleridge (1772-1834), Byron, John Keats
(1795-1821), and Percy Bysshe Shelley (1792-1822)—erases the fact that women not only
consumed but produced the majority of both novels and poems published in Britain in
the period from 1780 to 1830. 28 Likewise, in Meiji literature, the attempt to restore
parity to the canon would do well to proceed from the fact that a variety of works by
27
Andreas Huyssen, After the Great Divide: Modernism, Mass Culture, Postmodernism
(Bloomington and Indianapolis: Indiana University Press, 1986), 47.
28
Anne K. Mellor, Romanticism and Gender (New York: Routledge, 1993), 7, 209.
14
women were indeed celebrated. 29
A final reason to focus on these three collections is that Seedlings, Nature Has
Feelings, and Tangled Hair are three of the most significant poetry achievements of the
1890s and early 1900s. Other important poetry successes of the time are Yosano
Tekkan’s first four poetry collections and Masaoka Shiki’s poetry. The former might
have been included had time permitted, while the latter represents the antithesis of
what the poets in this study set out to do. Shiki is an exemplar of the “sketching from
life” approach to poetics, especially in the haiku form. His success was, as Donald Keene
writes, in “the direct depiction of nature, by way of reaction to the stale conceits and
repetitions of conventional phraseology.” 30 To simplify the distinction between Shiki
and the Romantic poets here discussed, we might say that where he used
understatement, they embellished, and where he stripped his poems bare, they invoked
poetic tradition.
Citation in Traditional Japanese Poetics
Traditional Japanese poetry, and especially waka, had long been fundamentally
29
As Michael Bourdaghs has pointed out to me, Rebecca L. Copeland’s study of Meiji
women writers almost completely overlooks Yosano Akiko, a canonized writer, as it
raises the objection that the only Meiji-era woman writer usually mentioned in literary
histories is Higuchi Ichiyō ( 口一葉, 1872-96). “Why,” Copeland asks, “has Ichiyō’s
canonization required the erasure of all the others?” Rebecca L. Copeland, Lost Leaves:
Women Writers of Meiji Japan (Honolulu: University of Hawai‘i Press, 2000), 228.
Copeland’s own erasure of Akiko seems to be founded on a common prejudice of a
different sort: that “literature” means prose fiction alone, and not poetry.
30
Donald Keene, Dawn to the West: Japanese Literature of the Modern Era: Poetry,
Drama, Criticism (vol. 4 of A History of Japanese Literature) (New York: Columbia
University Press, 1999), 110.
15
citational, particularly after the interventions of Fujiwara no Teika (藤原定家,
1162-1241) in his New Collection of Poems Old and New (新古今和歌集:
Shinkokinwakashū, compiled in 1205). Haruo Shirane compares twentieth-century
discourse on intertextuality, inaugurated by figures such as Julia Kristeva and Roland
Barthes, to the Heian period’s (794-1185) own self-consciously intertextual literary
practices. “Though the historical setting and the critical terminology are radically
different,” he writes, “a similar awareness of the intertextual nature and function of
literary texts emerges at the end of the Heian period, particularly in the poetry and
writings of Fujiwara no Shunzei.” 31 Fujiwara no Shunzei (藤原俊成, 1114-1204), Shirane
observes, “has a profound awareness of poetry both as a highly codified object and as an
intertextual construct—an awareness that was to deepen with his son and great
successor, Fujiwara no Teika.” 32 Indeed, it is not so much the intertextuality itself as the
system of rules for exploiting it that distinguishes late Heian poetic practice. Shirane
goes on to argue:
Japanese classical poetry and its generic cousins, the vernacular romance
(monogatari), the literary diary (nikki), and the essay (zuihitsu), have
often been characterized as lyrical, subjective, personal, and emotive—
attitudes closely associated with nineteenth-century romanticist views of
literature, which tend to regard the primary value of “lyrical expression” as
creative or individual invention. Like many other Japanese literary forms,
however, late Heian waka was also a genre that functioned within an
elaborate fabric of rules, conventions, and literary associations, within a
highly codified, intertextual context. . .in which the primary stress was not
on individual invention but on allusive citation and on subtle, imitative
31
Haruo Shirane, “Lyricism and Intertextuality: An Approach to Shunzei’s Poetics,”
Harvard Journal of Asiatic Studies 50:1 (June, 1990), 72.
32
Shirane, 82.
16
variation of pretexts and traditional literary associations. 33
At the same time, we must not rehearse the familiar, erroneous, East-West
dichotomous thinking that dismisses other traditions as lacking a spirit of innovation.
Edward Kamens reflects on the simultaneous productivity and an anxiety of influence in
traditional citational waka practice:
[I]n a sense all waka poems are devotional: they pay homage to all others
and to the practices of waka-making and reading themselves. But is this
incessant paying of homage always an affirmative and productive act of
reverence, awe, and emulation? Might it be not only a sign of a triumph of
continuity, survival, and successful transmission but at least sometimes
the mark of a defeat, of a resigned acceptance of collective confinement in
a constantly echoing sepulcher crammed full of words? 34
What makes intertextuality problematic for Meiji Romantic writers is that, in
trying to establish a new national poetry tradition, they had to negotiate different
relationships with their intertexts. How did Japanese poets who embraced such
“romanticist views of literature” synthesize long-established tropes while at the same
time revolutionizing poetic practice? They did it in at least three ways: first, by
incorporating Western intertexts alongside Japanese and Chinese ones; 35 second, by
foregrounding the putative privileged relationship of the poet to nature as a source of
33
Shirane, 85.
34
Edward Kamens, “Waking the Dead: Fujiwara no Teika’s Sotoba kuyō Poems,”
Journal of Japanese Studies 28: 2 (Summer 2002), 383.
35
Chinese texts were just beginning to be considered as foreign as Western texts.
Kazuki Sato notes, “From the 1890s onwards, the ambivalent attitudes towards China
began to spread, and nationalistic sentiment gained adherents. Things Chinese came to
be repositioned alongside things Western, as both were identified as foreign in nature.”
Kazuki Sato, “‘Same Language, Same Race’: The Dilemma of Kanbun in Modern Japan,”
in The Construction of Racial Identities in China and Japan, ed. Frank Dikötter
(London: Hurst & Co., 1997), 119.
17
poetic inspiration (although this notion is out of step with the intertextual tactic); third,
by overhauling the form and diction of poetry (although, as we shall see in the case of
Yosano Akiko, a revolution in form was not strictly necessary to achieve poetic reform).
Poems in a New Style for a New Age
Shintaishi (新体詩: new-style poems) are poems that formally combine flexibility
and regularity. With respect to flexibility, shintaishi may extend to any number of lines,
and their stanzas may or may not be of uniform size. But in terms of their regularity, the
length of each line in a poem and the placement of the caesura within that line are
exceedingly regular. Nearly all shintaishi have lines of twelve syllables, with a caesura
after the fifth or seventh syllable. Some early poems of this style double the lines to
twenty-four syllables, thus incorporating three caesurae in a line. A few examples have
fourteen syllables, with a caesura after the sixth or eighth syllable. Such is also the
meter commonly used in the Meiji period to translate Christian hymns into Japanese.
It is largely owing to this combination—the flexibility to translate sonnets and
soliloquies from European languages, but the regularity that Charles Baudelaire
famously chalked up to the human need for monotony—that shintaishi served so
admirably well in the rapidly changing poetic landscape of the late Meiji period. That
regularity is also one reason shintaishi soon ceded its place to the ascendancy of free
verse. In considering “What is poetry?” in notes for a preface to his poetry collection,
Baudelaire offered “that rhythm and rhyme respond to humans’ undying need for
18
monotony, symmetry, and surprise.” 36 Like Tōson’s 1904 preface to his Tōson’s
Collected Poems (藤村詩集: Tōson shishū) and Wordsworth’s preface to the 1800
edition of his and Samuel Taylor Coleridge’s Lyrical Ballads, both discussed in the
following chapter, Baudelaire’s notes towards a preface of his own were intended for
later editions of his poetry collection. These poets recognized in retrospect that their
pivotal publications had changed poetic practice and poetic readership. Perhaps they
withheld more forceful claims from the original publications because they recognized
that their efforts and those of their poetry circles were part of processes that were still
unfolding.
The shintaishi’s units of seven and five syllables make use of the building blocks
of the more familiar tanka and haiku (俳句: light verse). The shintaishi form dates back
only fifteen years before Tōson’s Seedlings, to 1882 and the publication of the Selection
of New-Style Poems (新体詩抄: Shintaishishō). That collection, by the scholars Toyama
Masakazu (外山正一, 1848-1900), Yatabe Ryōkichi (矢田部良吉, 1851-1899), and Inoue
Tetsujirō (井上哲次郎, 1855-1944), comprised fourteen translations of poems in English
by such writers as Shakespeare, Tennyson, and Longfellow, along with five original
36
Charles Baudelaire, “Préface des Fleurs” (Preface to Flowers), in Les Fleurs du mal
(Flowers of evil), ed. Jacques Dupont (Paris: Flammarion, 1991), 254. We should note
that most Japanese poets stayed away from rhyme, whose unsuitability to Japanese was
demonstrated by a few notoriously bad examples, such as Yatabe Ryōkichi’s “Four
Seasons” (春夏秋冬: Shunkashūtō), in Toyama Masakazu, Yatabe Ryōkichi, and Inoue
Tetsujirō, Shintaishishō (Selection of new-style poems, 1882; reprint: Tokyo: Nihon
kindai bungakukan, 1972), 41-42. For an English translation of that poem, see Robert E.
Morrell’s “A Selection of New Style Verse (Shintaishisho, 1882)” in Toward a Modern
Japanese Poetry, ed. Tamie Kamiyama et al., special issue of Literature East & West
19:1-4 (1975), 22-23.
19
poems by the compilers themselves. All histories of modern Japanese poetry begin with
this important collection; while artistically mediocre, it introduced a new poetic form
alongside the 31-syllable tanka, the 17-syllable haiku, and the kanshi (漢詩: Chinese
poem). Its immediate reason for being was the obvious inability to translate something
like a sonnet into Japanese using one of the established short poetic forms. More than
that, however, the poets who brought out Shintaishishō believed Japan to be lacking in
poetic, even philosophical, development for not having its own tradition of extended,
complex poetic treatment of themes. Suga Hidemi, in his literary history of modern
Japanese literature, notes that short poetic forms were thought “unable to express
complex feelings and thoughts.” 37 Or, as Dean Brink puts it, “Meiji poets were
captivated by the idea of sustained thought itself, finding novelty in the very idea of
logocentrism and cultural production that worked with ideas in a spatially engaged
constructive mode that accrues and orders moments (rather than intertextually diffuses
them in a poetics of allusion that characterizes waka).” 38 Poets of the time longed to go
beyond what was possible in the restrictive tanka tradition, and shintaishi appealed as a
way to do that formally. On the content side, the translation of foreign-language poems
into shintaishi helped establish shintaishi as less restrictive than tanka. But even tanka
proved to be resilient, once its rules were broken by Yosano Tekkan and Yosano Akiko.
The idea that Japan in the beginning of the Meiji period lacked poetic forms to
37
Suga Hidemi, Nihon kindai bungaku no tanjō: Genbun itchi undō to nashonarizumu
(The birth of modern Japanese literature: The movement to unify speech and writing
and nationalism) (Tokyo: Ōta shuppan, 1995), 250.
38
Dean Brink, “Intertexts for a National Poetry: The Ideological Origins of
Shintaishi” (Ph.D. dissertation, University of Chicago, 2003), 216. Emphasis in original.
20
translate Western poetry is an inaccurate simplification, of course. In addition to the
robust tradition of writing poetry of any length in Chinese, Japan had its own long form
of poetry, chōka (長歌: long poem), which goes back to the earliest writings in Japanese.
The decline of chōka explains why the term waka (和歌: Japanese poem), which
originally referred to both tanka and chōka, came to refer to tanka alone. The chōka,
like the shintaishi, alternates between units of five and seven syllables. The difference is
that chōka as a rule begin with five syllables instead of seven, and then conclude with
two sevens in a row, while shintaishi are more flexible.
It is rather a mystery why, if the Shintaishishō poets chose to hew to a seven-five
pattern, they did not resuscitate the chōka from its centuries of neglect; or, if they felt
the need to create a new form, why they then adhered so closely to conventional
Japanese prosody. It was not that their poems were not long, but instead that they were
not poems of the uta/ka (歌) variety. What we call “poetry” in Japan is now called
shiika (詩歌). Its two halves are shi (詩), a term that traditionally referred only to
kanshi until shintaishi appeared; and ka/uta (歌), a term that was restricted to waka
and songs (uta). They were more akin, if only because of their exoticism, to kanshi (if
we may call exotic a poetic practice that survived in Japan for over a millennium, though
in somewhat limited circles).39 The Shintaishishō poets therefore installed shintaishi on
the side of kanshi instead of uta in the Japanese language.
At the same time, the compilers lamented the lack of a common touch in
39
It would needlessly complicate matters to point out that shi traditionally referred to
only one of several forms of poetry in Chinese.
21
contemporary Japanese poetry. Yatabe’s preface to the collection states, “It is
regrettable that our countrymen seldom compose poems using the language of the
common people. We have worked out a kind of new-style poetry (shintai no shi) on the
European pattern.” 40 Inoue’s preface—each of the three compilers contributed a preface
—remarks that “these Western poems change with the times, so that current poems
employ current idioms and their comprehensiveness and elaborateness insure that their
readers will not become bored.” 41 In effect, these men were saying, Japanese poetry of
the day was to be condemned for lacking both intellectual sophistication and the
common touch of ordinary language.
Propping up the arguments for poetry of both sophistication and ordinariness, as
we can clearly see in the prefatory statements above, is the call for a national poetic
revolution. The Shintaishishō poets underlined the nationalistic aims with some of the
red-blooded poems they chose to translate (such as Thomas Campbell’s “Ye Mariners of
England, A Naval Ode,” and, perhaps missing an irony that undermines national
authority in it, Tennyson’s “Charge of the Light Brigade”), along with original poems of
their own, such as “Brigade With Swords Drawn,” by Toyama, excerpted here:
我ハ官軍我敵ハ 天地容れざる朝敵ぞ
敵の大将たる者ハ 古今無双の英雄で
之に従ふ兵ハ 共に慓悍決死の士
鬼神に恥ぬ勇あるも 天の許さぬ
逆を
起しゝ者ハ昔より 栄えし例あらざるぞ
敵の亡ぶる夫
ハ 進めや進め諸共に
40
As translated by Robert E. Morrell, 16.
41
Also translated in Morrell, 13.
22
玉ちる剣抜き連れて 死ぬる覚悟で進むべし42
We are the government army, our foes are the foes of the court and forbidden!
The enemy general may be a hero unrivaled from time immemorial,
And the soldiers who follow him stouthearted samurai ready to die at his side,
With bravery unbowed by demons or gods—but rebellion unpardoned by heaven
Has never brought glory to men who have raised up resistance in all our long
history!
Until the last man of the enemy dies, then, charge forth, men! Charge forth, one
and all!
Unsheathing our jewel-bedecked swords at our sides, we must all charge forth
ready to die!
After Shintaishishō, the next major advance for shintaishi was 1889’s Vestiges
(於母影: Omokage), a selection of translations from German, English, and Chinese, by
members of the New Voice Society (新声社: Shinseisha), led by Mori Ōgai, who went on
to become an eminent novelist. The members of this group had what Miyoshi Yukio
calls “the audacity to try to import the entire essence of Western culture into Japan.” 43
Nevertheless, their collection of translations is usually overlooked, because it was
neither as groundbreaking as the Shintaishishō nor as brilliant in its lyrical execution as
Ueda Bin’s (上田敏, 1874-1916) later Sound of the Tide (海潮音: Kaichōon, 1905), a
masterwork of translations from English, French, and German. 44 (As an
42
Inoue, Shintaishishō, 19.
43
Miyoshi Yukio, Kindai no jojō (Modern lyric) (Tokyo: Hanawa shobō, 1990), 30.
44
While Donald Keene celebrates Bin’s inspired, free translations of poems that lent
themselves to Japanese in the first place, Miyoshi credits “a certain contempt in Bin’s
work for Japanese as a poetic language.” Donald Keene, Dawn to the West, 226-228;
Miyoshi, 30.
23
acknowledgment of his debt to Vestiges, Bin dedicated his collection to Ōgai.) 45 It
should also be noted that the target language of the poems of Vestiges was not always
Japanese; four of the nineteen selections were rendered as Chinese poems.
Increasing poetic experimentation followed Vestiges. One reason for this was the
proliferation of literary magazines in the 1890s. The most important of these for this
study are Literary World (文学界: Bungakkai), an offshoot of Women’s Learning
Magazine founded by Kitamura Tōkoku (1868-1894), which ran from 1893 to 1898;
Imperial Literature (帝国文学: Teikoku bungaku), a literary organ of Tokyo Imperial
University that was published from 1895 to 1920; and Morning Star (明星: Myōjō), the
magazine of Yosano Tekkan’s Tokyo New Poetry Society (東京新詩社: Tōkyō
Shinshisha), which ran from 1900 to 1908. 46 Literary World was the main venue for
Shimazaki Tōson’s works for as long as the magazine lasted, Imperial Literature served
as the outlet for many of Doi Bansui’s poems and translations, and Morning Star
carried Yosano Akiko’s poems.
Such magazines not only provided congenial fora in which coterie writers could
publish poetry, literary and social criticism, drama, and other forms, but also offered
45
Ueda Bin. Kaichōon (Sound of the tide) (Tosho geppo, 1905; Reprint: Tokyo: Nihon
kindai bungakukan, 1968), n.p.
46
For the history of the founding of Literary World, see Yano Hōjin, “Bungakkai” to
seiyō bungaku (“Literary world” and western literature) (Tokyo: Gakuyūsha, 1970),
2-13; also Michael Brownstein, “Jogaku Zasshi and the Founding of Bungakukai,”
Monumenta Nipponica 35:3 (1980): 319-36. For the influence of Morning Star on
Yosano Akiko’s Tangled Hair, see Odagiri Hideo, “Myōjō-ha no ‘seikinchō’ to Yosano
Akiko Midaregami” (The Morning Star group’s “stars and violets style” and Yosano
Akiko’s Tangled Hair), in Nihon gendaishi taikei: Bungakushi (Compendium of
modern Japanese history: Literary history) (Tōyō keizai shinpōsha, 1961).
24
these writers continued publicity—both before and after their stand-alone collections
were published—and good reviews from their friends. Indeed, one might get an inflated
sense of the importance of a given poet’s talents if one read only the notices from that
poet’s associated magazine. And to be sure, many contemporary readers—though it is
hard to estimate their numbers, given the still spotty record of print runs and circulation
in the Meiji period—would have been swayed by such notices, and by the trends
nurtured by the close-knit editorial boards. It is largely on account of such refereed
reception that many difficult works succeeded—especially in the case of Bansui’s poetry,
as I discuss below. If anything, rather than insulating writers from harsh criticism,
these coterie publications enabled them to develop stylistically and intellectually. (I
contend, too, that the subsequent canonization of these works speaks to their abiding
literary value.) Favorable reviews by writers outside the coterie in other journals then
legitimated internal coterie reviews as they extended the poet’s name and works to a
wider audience.
But even the coterie journals themselves could be hard to please, and they were
among the first to recognize when practices were becoming stale. A January 1899
editorial in Imperial Literature, for example, summed up the shortcomings of recent
shintaishi. While the trend towards cultivating new ideas was perhaps to be lauded, “It
has become increasingly clear in the last year that the seven-five form is not appropriate
for long works.” 47 Like the forms it was meant to replace, shintaishi now seemed to be
hampered in its development by its own form, if not as much in its content. Indeed,
47
Teikoku bungaku (Imperial literature) (Jan. 1899), 115.
25
within the next decade, shintaishi would be made obsolete as meter and then refined
language gave way to vernacular free verse.
Still, it was in the middle to late 1890s, with the rise of change-oriented literary
coteries and the magazines they published, that the most fruitful poetic experimentation
took place. The magazines were the springboards, you might say, and the bound
volumes of poetry were the capstones of the poets’ achievements of their visions.
Whether we emphasize a poem’s first publication in a magazine or its later appearance
in a book of poetry, however, the most important unit of analysis here remains the
poem. Thus, rather than pushing a unity on the works under scrutiny here, one that
would be false anyhow, I have chosen to illuminate three different—and yet crucial—
tactics these poets used to expand the realms of poetic investigation and output.
Shimazaki Tōson’s Seedlings
In such an atmosphere, the true success of shintaishi finally came with the
publication of Shimazaki Tōson’s poetry, collected in four volumes between 1897 and
1901. Tōson is justly celebrated as a pioneer of both Romantic modern lyric poetry and
the Naturalist modern novel. His works include early experiments with drama, a brief
but fruitful period of lyric poetry (the late 1890s to the early 1900s), a series of novels,
some autobiographical in subject matter, and numerous pieces of criticism and sketches.
Seedlings (若菜集: Wakanashū, 1897), the first of his four poetry collections and the
subject of chapter one, represented a revolution in poetic voice, romantic affect,
prosody, and narrative style. Tōson’s passion and lyricism finally made shintaishi seem
26
uncontrived instead of a clunky or exotic experiment, even as he repudiated the move
towards colloquial language advocated by earlier shintaishi proponents.48
The title of Tōson’s first poetry collection, here translated as Seedlings, literally
means “collection of young greens.” 49 As do other poetry collections going back to the
eighth-century Collection of Ten Thousand Leaves (万葉集: Man’yōshū), the name
evokes words as leaves. One term for language itself, kotoba (言葉; from koto no ha),
literally means “leaves of words.” The most famous expression of the metaphor comes
from the twin prefaces to the Kokinshū. Ki no Tsurayuki’s (紀貫之, ca. 870 to ca. 945)
preface begins, “Japanese poetry has its seeds in the human heart, which become
myriad leaves of words [言の葉: koto no ha].” 50 Ki no Yoshimochi’s (紀淑望, d. 919)
Chinese preface to the same collection uses a similar formula: “Waka’s roots are in
feelings, and its flowers bring forth forests of words [詞林: cilin (J: shirin)].” 51
48
Donald Keene notes that the “modern-language movement led by Toyama and Inoue”
was “halfhearted in its modernization,” but that it “failed, less because of its own
inadequacy than because of the appearance in 1897 of [Seedlings]; the extraordinary
success of this volume written almost entirely in the traditional ‘elegant
language’. . .inevitably inhibited serious discussion of more modern poetic language and
forms. Tōson believed poetry had to be written in a special, elevated language, in
accordance with recognized Japanese metrics.” Keene, Dawn to the West, 204.
49
The title Wakanashū has been translated as Fresh Greens or Young Herbs (by
William E. Naff), as Collection of Young Shoots (by Janet A. Walker), and as Fresh
Greens (by Stephen Dodd). Edward Seidensticker’s translation of The Tale of Genji
renders the Wakana chapters as “New Herbs.”
50
Kokin wakashū (Collection of waka old and new), volume 7 of Nihon koten bungaku
zenshū (Complete Japanese classical literature), edited by Ozawa Masao (Shōgakukan,
1971), 49.
51
Kokin wakashū, 413.
27
According to Naff, the title is also borrowed from the title of a poetic anthology compiled
by Matsuo Bashō’s (松尾芭蕉, 1644-94) disciple Hattori Ransetsu (服部嵐雪,
1654-1707). 52 The associations with spring, freshness, and youth make the title apt
enough, but it has a special zing from the context of leaves of words: these seedlings may
yet be immature, but they will eventually grow up to replace last season’s leaves of
language.
Tōson’s poetry, and this collection in particular, has been widely acclaimed as the
birth of modern Japanese poetry. As a typical example of such a confident evaluation,
taken from a special issue on modern poetry of Japanese Literature: Interpretation and
Appreciation (Kokubungaku: Kaishaku to kanshō), Itō Shinkichi writes, “Seedlings
(Aug. 1897) was Shimazaki Tōson’s first poetry collection. At the same time, it can be
called the first collection of lyric poetry out of the modern poetry in our country.” 53 In
making such a claim, Itō explicitly passes over a collection titled Lyric Poetry (抒情詩:
52
Naff, 171-172.
53
Itō’s claim is implicitly endorsed by the contents of the journal issue itself: after an
overview by Yoshida Seiichi of “modern and contemporary poetry” (近代詩と現代詩:
kindaishi to gendaishi), Itō’s essay on Seedlings comes first in a series of essays on
poetry collections. Itō Shinkichi, “Wakanashū (Shimazaki Tōson)” (Seedlings
[Shimazaki Tōson]), Kokubungaku: Kaishaku to kanshō (Japanese literature:
Interpretation and Appreciation) 31:1 (Jan. 1966), 15. In addition, Chen Dewen writes
that the publication of Seedlings was of epoch-making significance in ushering in a new
period of Japanese poetry. Chen, “Daoqi Tengcun de Nencaiji” (Shimazaki Tōson’s
Seedlings), Aichi bunkyō daigaku ronsō 3 (Nov. 15, 2000), 251. James R. Morita, who
has translated several of Tōson’s poems and strung them together with commentary,
judges that many of Tōson’s poems have “deficiencies in poetic techniques and
imagination.” Yet Morita concludes that Tōson’s “contribution to the development of
modern Japanese poetry was also substantial,” and that he “brought his ‘romantic spirit’
to maturity, creating a solid foundation of both content and style on which other poets
based their works.” Morita, “Shimazaki Tōson’s Four Collections of Poems,”
Monumenta Nipponica 25:3-4 (1970), 340, 369.
28
Jojōshi, 1897) published only four months before Tōson’s.54 His judgment also
accurately characterizes the reception of Seedlings at the time. Uno Kōji (宇野浩二,
1891-1961), looking back at his youth in 1949, writes, “When Seedlings came out, I was
still young, so I did not read it, but Yoshie Kogan (Takamatsu) [吉江喬松 (孤雁),
1880-1940], who did read it at the time, said, ‘Around Meiji 30 [1897], we who were
upperclassmen in secondary school were totally fascinated by [Seedlings], and we got
absorbed in reading it. Because of Seedlings, for the first time a youthful poetry infected
us with joy, and not just us, but probably all students about that age in Japan at that
time, who were carried away by its charm.’” 55
Masaoka Shiki’s review of Seedlings is worth a brief mention here, as well.
Writing in the Japan Weekly Supplement (日本附録週報: Nihon furoku shūhō) in
September 1897, Shiki grants that Tōson writes serious, poetical, imaginative shintaishi,
but he complains that Tōson’s vision is limited and his vocabulary repetitive. 56
It is not necessary to defend Seedlings’ revolutionary qualities, because those
54
Lyric Poetry (Tokyo: Min’yūsha, 1897) was the joint effort of six writers, some of
whom achieved greater fame for writing other than poetry: Kunikida Doppo (国木田独
歩, 1871-1908), Matsuoka Kunio (松岡国男, 1875-1962; better known for folklore studies
under the name Yanagita [柳田] Kunio), Tayama Katai (田山花袋, 1872-1930), Ōta
Gyokumei (太田玉茗, 1871-1927), Yazaki Saganoya (矢崎嵯峨の屋, 1863-1947), and
Miyazaki Koshoshi (宮崎湖処子, 1864-1922).
55
Uno Kōji, “Wakanashū to Rakubaishū” (Seedlings and Fallen Plum Blossoms), in
Tenbō (Lookout), no. 37 (Jan. 1949), 36.
56
Masaoka Shiki, “Wakanashū no shi to ga” (The poetry and pictures of Seedlings),
Nihon furoku shūhō (Japan weekly supplement) (Sept. 27, 1897); reprinted in Shiki
zenshū (Complete works of Shiki), vol. 14 (Tokyo: Kōdansha, 1976), 199-201.
29
have never been in doubt over the last 115 years. (That is not to say that recent critics
have not felt it necessary to excuse what today may sound trite by explaining how
refreshing the poems were in 1897.) Meanwhile, grand declarations of Seedlings’ broad
impact are useful only to a point. And there remains uncharted territory. While many
favorite poems—“First Love” (初恋: Hatsukoi), “Song of the Autumn Wind” (秋風の歌:
Aki kaze no uta), and the “Six Maidens” (六人の処女: Rokunin no otome) poems—
receive critics’ praise, many poems are largely ignored. To be sure, not every poem
deserves equal weight, and certain poems are weaker or less groundbreaking than
others. But some, like “Pillow of Grass” (草枕: Kusamakura), have suffered unjust
abuse—particularly among anglophone scholars. Naff, for example, calls the latter
“heavy, obscure, mannered, pretentious, and lifeless, a virtual inventory of Tōson’s early
shortcomings.” 57 Critics are generally quick to point out that Tōson’s successes in both
poetry and fiction owe as much to his embrace of traditional diction, imagery, and
allusion as they do to revolutionary technique, form, and vision.
How did Tōson’s poetry succeed, and what exactly did it do? One thing that set it
apart from contemporary shintaishi (and even tanka) was the sheer delight it gave
readers: delight in the freshness of emotion, even when that was melancholy or despair,
and delight in a rhythmic delivery that propelled the lyrics forward and sustained
interest in them. For where shintaishi up to that point had failed most was in attending
to readers as listeners. Before Tōson, Yosano Tekkan had pioneered poetry reform, and
his early works such as North, South, East, and West (東西南北: Tōzai nanboku, 1896)
57
Naff, 167.
30
brought both newness and variety, but without much rhythmic appeal. His tanka, too,
chop themselves up with excessive punctuation. The overall effect is exhilarating but
jarring, and there seems to be no invitation to become intimate with any one poem. It
may seem, then, that Tōson’s poetic genius was that he finally made shintaishi sound
gentle to the ear, while still relying on standard rhythms and overused imagery. Tōson’s
poems are not too daring in their subjects and language. Their success is like
Wordsworth’s: both take their time filling out the lines, never compressing too much,
sometimes even repetitive; both use diction not too rarefied. And this may explain why
Tōson’s newness is harder to appreciate today. In the end, perhaps he is surpassed by
Bansui and Akiko, while still being important to their subsequent efforts—both as
inspiration to them directly and in preparing their readership to be receptive.
Tōson’s nearest rival in rhythmic beauty may have been Ueda Bin, who published
translations of Verlaine and other European authors in Sound of the Tide. Indeed, Bin
and others of the Morning Star Group took up Tōson’s baton after he stopped writing
poetry—a baton that can be said to have passed through Akiko’s hands on its way.
Akiko, after all, joined Tekkan’s Tokyo New Poetry Society in 1900, out of which the
literary magazine Morning Star was born.
But what was Tōson’s lasting contribution to modern poetry? If shintaishi as a
form survived only for a few short decades, what sort of lasting impact did Tōson really
have? Even if his genre of poetry gave way to vernacular free verse shortly after he
himself gave it up, was his contribution nonetheless a necessary step along the way? In
asking these questions, are we not also too devoted to the present? We hope to see, first,
that the poet’s work is still read today, and, second, that even today’s poets are
31
influenced by the work of that earlier poet. (If this is a problem for the likes of Tōson,
how much greater does its merciless judgment condemn Doi Bansui, who is said to be
forgotten and bereft of literary progeny.) Yet it is an article of faith that the arrival of
shintaishi and the concurrent overthrowing of stultifying tradition in tanka represented
great advances. I do not quibble with those judgments. But have we not also been keen
to accept vernacular free verse as the next (perhaps the final?) logical step towards
poetic freedom? And in doing so, in holding that the greatest freedom enables the
greatest creativity and personal expression, which in turn produces the most worthwhile
poems, have we not shelved on dusty bookcases so much of the wealth of poems: the
willingness to use rarefied language; an intimacy with great literature, history, and
ideas; and the structure that makes a poem, once finished, seem inconceivable any other
way?
The freedom of free verse may be freedom from formal constraints, but it brings
with it freedom from cultural resonance. I borrow the term “cultural resonance” from
an essay by Stephen Greenblatt, in which he addresses the mediation of museums,
whose placement of artifacts teaches us how to contextualize them. The evacuation of
cultural resonance in poetry is actually the opposite problem to what Greenblatt calls
the “triumph of resonance over wonder,” but the analogy to Japanese poetic tradition,
especially waka tradition, is that no single waka can be taken as spontaneous or
unallusive. 58 Instead, successive renovations of poetic practice towards vernacular free
58
Stephen Greenblatt, “Resonance and Wonder,” in Exhibiting Cultures: The Poetics
and Politics of Museum Display, edited by Ivan Karp and Steven D. Lavine
(Washington: Smithsonian Institution Press, 1991), 54.
32
verse follow a path towards the triumph of purportedly unmediated wonder over
cultural resonance. The ideal of unmediated wonder assigns greater authenticity, and
thus greater value, to a poet’s observations of the world transcribed realistically. If
nature is understood as a realm without culture, then nature is that which most
fervently demands artless, unmediated transcription if it is to be authentic. The
enthymeme in this formulation is that there can be authentic and unmediated but still
meaningful access to nature. Tōson’s shintaishi, and in particular those studied here,
occupy a critical transitional place. They aspire in varying degrees both to realism and
to the depiction of idealized, allusive landscapes—what Haruo Shirane calls “secondary
natures.” 59 They thus oscillate between what Friedrich Schiller (1759-1805) calls the
“naive” happiness and the “sentimental” completeness to be found in “nature.” 60
Yet much of the scholarship on Tōson relies—if for practical reasons more than
theoretical—on a too tidy narrative of his career as Romantic poet and then Naturalist
novelist. Itō Sei, for example, characterizes a shift in Tōson’s career thus:
After Tōson had established a method of expressing himself to the fullest
extent possible in verse, that is, in accord with the old order, he turned to
prose. That was Chikuma River Sketches [千曲川のスケッチ:
Chikumagawa no suketchi, 1912], begun in Meiji 33 [1900], at age 29.
Around then he read Darwin. He wrote Fallen Plum Blossoms [落梅集:
Rakubaishū, 1901] and that was the end of poetry for him. Chikuma River
Sketches is realistic and fairly rational, clear writing, and it makes a direct
impression. Around this time, he made himself into a writer of realism,
and his style is about the same as in Broken Commandment [破戒: Hakai],
59
Haruo Shirane, Japan and the Culture of the Four Seasons: Nature, Literature, and
the Arts (New York: Columbia University Press, 2012), 26.
60
See Friedrich Schiller, “On Naive and Sentimental Poetry,” translated by Daniel O.
Dahlstrom, in Schiller, Essays, edited by Walter Hinderer and Daniel O. Dahlstrom
(New York: Continuum, 1993).
33
which he started in 1904. . . .After that, his style gradually changed, with
Spring [春: Haru] in 1908 and The Family [家: Ie] in 1910. By the time of
The Family, at age 39, his style was fairly fixed, and it did not change
much after that. 61
In fact, Tōson’s career included prose and drama experiments from the beginning, and
even his poetry collections included more and more prose over time. 62 The only clear
shift is that Tōson stopped publishing new poetry after the last of his four poetry
collections appeared in 1901. Scholars attribute this shift first to the extended
Shimazaki family’s financial exigencies, then to the notion that Tōson’s limited poetic
creativity had dried up quickly (thankfully, this is not a widely shared view), and last to
the idea that he increasingly brought narration and description into his writing,
elements that lent themselves to the Naturalist prose with which he was supposedly
more comfortable. 63 I do not dispute the first or the third assertion; I leave the second
one to readers to evaluate for themselves.
61
Itō Sei, “Tōson no kangaekata” (Tōson’s way of thinking), in Shimazaki Tōson, vol. 6
of Kindai bungaku kanshō kōza (Lectures on modern literature appreciation), ed.
Senuma Shigeki (Tokyo: Kadokawa shoten, 1958), 306.
62
In November 1897, shortly after the publication of Seedlings, Tōson published his
story “The Nap” (うたたね: Utatane), in The New Novel (新小説: Shinshōsetsu). The
critical failure of this story temporarily discouraged him from pursuing prose projects.
See Shinbo Kunihiro, “Futae utsushi no ‘fūkei,’ soshite ‘jitsu no sekai’ e: ‘Shibunshū’ to
iu seido kara” (“Landscape” of a two-layered copy, then towards “the real world”: From
the organization of “Collected Poetry and Prose”), in Shimazaki Tōson: Bunmei hihyō to
shi to shōsetsu to (Shimazaki Tōson: Cultural criticism, poetry, and novels), ed. Hiraoka
Toshio and Kenmochi Takehiko (Tokyo: Sōbunsha, 1996), 84-86.
63
William E. Naff explains that Tōson alluded to his shift towards prose in a prefatory
anecdote attached to “The Nap.” In that anecdote, a master portrait painter warns his
young student not to look at the Rhine when traveling through Europe, but the student
does so anyway and consequently gives up portraiture for landscape painting. Here, the
operating analogy is of portraiture to lyric poetry and landscape painting to descriptive
prose. See Naff, 174.
34
Instead, my goal is to capture an extended moment, not only in Tōson’s own
development, but in the development of poetry that has both Naturalist and Romantic
elements, that is both descriptive and lyrical. I hope to contribute to our understanding
of how Tōson found great resonance in combining the portrait and the landscape, in
inserting a modern, alienated subject into intertextual, “secondary natures.”
Doi Bansui’s Nature Has Feelings
Doi Bansui’s poetry could have been overshadowed by the success of Tōson’s, but
instead he seems to have benefited from being associated with Tōson. Bansui received
early critical affirmation in The Sun (太陽: Taiyō) from his friend Takayama Chogyū (高
山樗牛, 1871-1902), who had helped found Imperial Literature in 1895 and was then
also the editor of The Sun. 64 The Sun had a broader audience than Imperial Literature,
which was after all the literary organ of Tokyo Imperial University. It was also
published by Hakubunkan, the company that would later publish Nature Has Feelings
(天地有情: Tenchi ujō) in 1899. In the December 1897 edition of The Sun, Chogyū
famously formulated the differences between Bansui and other poets:
I would take Tōson’s rhythm [調: shirabe or chō], but not his diction [辭:
ji] or thought [想: omoi or sō], his diction being limp and his thought
indistinct. I would take Hagoromo’s diction, but not his thought or his
rhythm, his thought being shallow and his rhythm flat. But for purity of
thought and sincerity of feeling [情: nasake or jō], there is indeed another
poet of our generation. I mean not to disparage these two men’s names,
but only to ask, Why does no one speak of Doi Bansui? . . .His rhythm does
64
Senzaki Akinaka, Takayama Chogyū: bi to nashonarizumu (Takayama Chogyū:
Beauty and nationalism) (Tokyo: Ronsōsha, 2010), 69.
35
not measure up to Tōson’s, and his diction is after all inferior to
Hagoromo’s, . . .but the loftiness of his thought and the purity of his
feeling far surpass those of these two men. 65
Bansui’s reputation must have benefited not only from the memorable comparison to
the likes of Tōson and Takeshima Hagoromo (武島羽衣, 1872-1967), but also from the
appearance of fairness that such a qualified endorsement brought. We should also
reflect on the fact that Chogyū here measures poetry by three criteria: rhythm, diction,
and thought. Each poet excels at one of the three; when Bansui comes up, his strength—
thought—expands to become thought and feeling. Indeed, for all the intellectual
sophistication of Bansui the scholar-poet, we must not overlook the considerable
emotional depth of his poems, as well.66 That feeling is, after all, in the title Nature Has
Feelings (though one could understandably charge that Bansui wrote intellectually
about nature’s feelings).
In January 1898, Imperial Literature ran an editorial on shintaishi of 1897, and
the magazine reflected on the boom in shintaishi, both in magazines and in volumes of
collected poems. The review singled out lyric poetry’s growing popularity: “Special
attention should be given to how the popularity of lyric poetry, and particularly love
65
Takayama Chogyū, “Bansui no shi” (Bansui’s poems), Taiyō (Dec. 1897); reprinted in
Takayama Chogyū, Chogyū zenshū (Complete works of Chogyū), vol. 2, edited by
Anesaki Masaharu and Sasakawa Taneo (Tokyo: Hakubunkan, 1926), 576.
66
Some scholars even foreground this aspect of Bansui’s poetry. See, for example, Ishii
Masamitsu, Jōnetsu no shijin Doi Bansui: Sono hito to sakuhin (Poet of passion Doi
Bansui: His life and work) (Sendai: Tōhoku shuppan, 1953).
36
poetry, in the latter half of the year gave rise to a new era.” 67
The two most important achievements in shintaishi in 1897, according to the
editorial, were Shimazaki Tōson’s Seedlings, which appeared in the fall of that year, and
Bansui’s poetry. The editorial says, “We believe the two people who created a new era in
the world of poetry last year were Tōson and Bansui.” Yet while it rejoices at the two
poets’ use of content, the editorial cites the room for development beyond the old meters
of 7-5 and 5-7. “At this moment, there is no one worthy of being called a poet, and
therefore there is no one who has the technique to succeed using a form other than the
old 7-5 and 5-7.” 68 Thus, even Tōson and Bansui fail to live up to the high hopes of the
editors of Imperial Literature.
The March 1898 issue of Imperial Literature carried an editorial that complained
of the failings of Bansui’s contemporaries—but not Bansui’s own. The title of the piece
was “Bansui and Reputation” (晩翠と世評: Bansui to sehyō). It began by criticizing
67
In its “Miscellaneous Notes” section (雑報: Zappō), the magazine ran its customary
unsigned editorials on topics such as “The World of Thought” (思想界: Shisō-kai), “The
World of Novels” (小説界: Shōsetsu-kai), “The Shintaishi Scene” (新体詩壇: Shintaishidan), “The Translation Scene” (飜譯壇: Hon’yaku-dan), “The World of Drama” (劇界:
Geki-kai), “The World of Japanese” (國文界: Kokubun-kai), “The Tanka Scene” (短歌壇:
Tanka-dan), “The World of Chinese Studies” (漢學界: Kangaku-kai), “The Chinese
Poetry Scene” (漢詩壇: Kanshi-dan), “The Haiku Scene” (俳壇: Hai-dan), and “The
World of History and Biography” (史伝界: Shiden-kai). The presence of shintaishi as a
regularly included category alongside the others helped give legitimacy to the style. The
January 1898 issue surveyed the previous year, Meiji 30, and gathered its commentaries
under the heading “A General Commentary on the Arts of the Year Meiji 30” (明治卅年
の文藝界概評: Meiji sanjūnen no bungei gaihyō). Teikoku bungaku (Jan. 1898), 124.
68
Teikoku bungaku (Jan. 1898), 125.
37
Takeshima Hagoromo, Ōmachi Keigetsu (大町桂月, 1869-1925), and Shioi Ukō (塩井雨
江, 1869-1913) for being old-fashioned, in spite of their graceful styles. Hidai Tenrai (比
田井天来, 1872-1939) and Yosano Tekkan were praised for their passion but faulted for
not being graceful enough. Even Tōson, who was singled out for his grace, skill, and
enthusiasm, failed to live up to their standards of originality. “Tōson, too, is in the end
not a new poet,” the editorial judged. 69 Instead, the mantle of new poet—a poet with
“fine tuning and grand, noble thoughts” (勁健なる調律と崇高雄大なる落想: keiken
naru chōritsu to sūkō yūdai naru rakusō)—belonged to Bansui. It was unfortunate, the
article stated, that he was not receiving adequate attention from other magazines. 70
Exactly one year after elevating Bansui to the level of Shimazaki Tōson, in
January 1899, Imperial Literature’s editorial on shintaishi took stock of the previous
two years of shintaishi. These two years were important for the development of the
form, according to the editorial, thanks to Tōson and Bansui and the pressure they
exerted on other poets.71 By this point, Tōson had published three poetry collections, of
which the third, Summer Grass (夏草: Natsukusa), was reviewed in the same issue.
Seedlings was the most successful. One Boat (一葉舟: Hitohabune) was more a prose
collection, the editorial said, and Summer Grass was not as thoughtful or original as
Seedlings.
69
Teikoku bungaku (March 1898), 108.
70
Teikoku bungaku (March 1898), 108.
71
Tōson and Bansui continued to be paired as one unit (藤村晩翠: Tōson Bansui), often
with a double circle by each character for emphasis.
38
Bansui, on the other hand, was praised for making progress with each new poem
—in spite of the occasional “tedious monotony” (単調の弊: tanchō no hei) in some of
“declarations of rather deep ideals” (稍淵深なる理想を謳ひ: yaya enshin naru risō wo
utai). 72 The editorial singled out “The Universe and the Poet” (萬有と詩人: Ban’yū to
shijin), which had been published in January 1898, as well as three poems—“Stars and
Flowers” (星と花: Hoshi to hana), “The Eagle” (鷲: Washi), and “Evening Bell” (暮鐘:
Boshō)—that had been published together in the April issue. Then, with his “Dream
Before the Horse” (馬前の夢: Bazen no yume), one of six poems by Bansui published in
Hansei zasshi in August, Bansui made a name for himself as an epic poet. He followed
this with his major epic poem “Fallen Star in the Autumn Wind on Wuzhang Plain” (星
落秋風五丈原: Hoshiotsu shūfū gojōgen), which represented a step forward in language
—though unfortunately also contained too many undomesticated kanji. The editorial
that month—January 1899—continued by bestowing a mixed review on Bansui’s work as
a whole:
Bansui’s lyric poetry has no blood, and it has no tears. In fact, his ideals in
the pure, distant air have their own kind of luster that looks askance at
other writers. His epic poetry, too, does not lack for conquerors, but really
we should not even allow any comparisons with him on this point. To tell
the truth, “Fallen Star in the Autumn Wind on Wuzhang Plain” both shows
Bansui’s strengths and fails to conceal his weaknesses. 73
Three months later, in April 1899, Nature Has Feelings, Bansui’s first collection
of poems, was published in Tokyo by the major publisher Hakubunkan. Imperial
72
Teikoku bungaku (Jan. 1899), 114.
73
Teikoku bungaku (Jan. 1899), 114.
39
Literature’s review of the work appeared two months later, in the June issue. Again, the
article begins by naming Bansui and Tōson as the two new poets of the age. While
Tōson has released three collections by this point—Seedlings, One Boat, and Summer
Grass—readers are sure to have been waiting long for Bansui’s first collection. The
article provides extensive excerpts of several poems, especially “Evening Thoughts” (夕
の思ひ: Yūbe no omoi) and “Light” (光: Hikari). It also draws heavily on excerpts of
treatises about poetry that Bansui had translated and attached to the collection, 74 and it
highlights Bansui’s own poetic treatment of poetry in his poems “Poet” (詩人: Shijin)
and “The Universe and the Poet” (萬有と詩人: Ban’yū to shijin). Chapter two will
address these poems in greater detail. Here it is worth noting the article’s observation
that Bansui “certainly does not stop at merely depicting natural scenery [自然の景物:
shizen no keibutsu]. . . .What he seeks is in the lofty mystery [高遠幽: kōen yū] of
meaningful poetry [意詩: ishi], and in the pursuit of ideals.” 75 He cries with humans’
anguish and grieves with their fate, the review states, and yet “the poems themselves
assume a calm tone [冷静の調を帯ぶ: reisei no chō wo obu]. It is because of this that
critics remark on Bansui’s scarcity of passion. . . .But just as a warrior in armor looks
74
The translations are from Thomas Carlyle’s (1795-1881) “The Hero as Poet,” from
Shelley’s “Defence of Poetry,” from George Sand’s (1804-76) Letters of a Traveler
(Lettres d’un voyageur), from Ralph Waldo Emerson’s (1803-82) essay “The Poet,” and
from Victor Hugo’s (1802-85) preface to Rays and Shadows (Les Rayons et les
Ombres).
75
Teikoku bungaku (June 1899), 120-121. Italicized text in my translation corresponds
to the use of emphasis marks in the original.
40
like a bitter mountain thistle, which produces only one drop of dew when squeezed,
though the number of tears be few, there must be countless hidden tears within the
heart.” 76 Bansui thus earns spirited approbation for having composed poems that go
beyond sketching from life, even if his poems in turn require in-depth probing to
discover their passion.
More recently, Bansui has been nearly forgotten, or when remembered then
relegated to the status of a regional poet associated with his hometown of Sendai. Yet
Bansui’s reputation has suffered more injustice than mere neglect. The circulation of
simplistic characterizations of his work has reduced him to a token in histories of Meiji
poetry. Paradoxically, the linking of Bansui’s work with Tōson’s seems to have become a
dichotomous, hierarchical judgment that favored Tōson: namely, that Bansui’s poetry is
the “masculine, intellectual” counterpart to Tōson’s “feminine, lyrical” poetry. Suga
Hidemi, for example, argues that Bansui’s poems have more Chinese compounds (漢語:
kango), which he associates with the male literati, while Tōson’s have more “Japanese”
words (和語: wago), which evoke classical literary traditions that are marked as
relatively feminine. 77 Also, Tōson wrote several poems from the point of view of
maidens, while Bansui wrote a number of epic poems about male heroes. Meanwhile,
the label “intellectual” becomes a pejorative tag and not an invitation into the
remarkable depth of Bansui’s poems, no doubt as a result of the lingering myth that
76
77
Teikoku bungaku (June 1899), 121.
Suga Hidemi, 243. On the construction of masculine and feminine in literary
histories, see also Tomiko Yoda, Gender and National Literature: Heian Texts in the
Constructions of Japanese Modernity (Durham: Duke University Press, 2004).
41
poems should be spontaneous and not contrived. Yet Bansui wrote a number of “lyrical”
pieces; indeed, Sasabuchi Tomoichi has neatly sorted them into three categories: lyric,
conceptual, and epic. 78 And yet this also becomes a simplification that inhibits
understanding.
Moreover, the accident seems to be Bansui’s unlikely success in the first place.
Perhaps his poetry would have remained more obscure had he not been on the editorial
board of Imperial Literature, where he published about half of the poems that would be
included in Nature Has Feelings, and had he not benefited from well-timed reviews of
his poetry and arm-twisting of the publisher by his friend and colleague Takayama
Chogyū. Because of that, the indifference to Bansui’s poetry is understandable.
Finally, we must also recognize that shintaishi as a form in general has suffered
neglect with the passage of time. The Imperial Literature editorial from January 1899,
appearing before Nature Has Feelings had even been published, predicted the
inevitable decline of shintaishi. If the form once was more “modern” or “revolutionary”
than haiku, it has nevertheless not survived in wide practice to the present, with the odd
result that the waka and haiku of Masaoka Shiki seem now fresher—or at least more
readily accessible to the reader. Second, it is clear that the main barrier to lasting
acclaim for Bansui’s poetry in particular is the difficulty for the reader: first, in diction
that resembles kanshi more than waka, and, second, in diverse literary allusions that
must have been as impenetrable to readers at the time as they are now.
In investigating Bansui’s shintaishi, I hope not simply to revive an accident, nor
78
Sasabuchi Tomoichi, “Bungakkai” to sono jidai (“Literary world” and its age), vol. 2
(Meiji shoin, 1961), 1564.
42
simply to help explain what is difficult in the poems, but to explore through his
sophisticated, reflective works how poetry can summon great literary and philosophical
works from diverse traditions to say something beautiful about both nature and human
ideals, even as they both continue to elude us.
Yosano Akiko’s Tangled Hair
Yosano Akiko began writing poetry in the late 1890s, partly under the inspiration
of Bungakkai and especially Shimazaki Tōson’s early poetry therein. Her early success
with poetry, however, was with tanka instead of shintaishi, and she became famous with
the enormously successful all-tanka collection Tangled Hair (みだれ髪: Midaregami) in
August 1901. This is partly attributable to her falling in love with Yosano Tekkan, a
major tanka poet and the founder of the Tokyo New Poetry Society. Most of the
influence between the two, however, was hers on him, as she infected his style with the
romantic ardor of her poetry. Akiko’s tanka were sensuous and rebellious, while
maintaining the style, conventions, and literary references of the form.
The publication of Yosano Akiko’s Tangled Hair proved that neither the literary
public nor its institutional spokespersons on editorial boards had grown tired of
deploying superlatives in lauding poets for breaking with convention. An anonymous
review (understood to be by Ueda Bin) in the October 5, 1901, issue of Morning Star set
the tone for critical reception of Tangled Hair, establishing a pattern of appreciation for
43
the work’s innovation, passion, and depth of thought. 79 It is not surprising that a review
in Tekkan’s magazine, site of so many of Akiko’s poems, would be laudatory. Even so,
such a review, by a leading exponent of modern poetry and prominently taking up the
first four pages of the issue, no doubt underscored the serious regard the mostly male
literary establishment gave to a female author writing in a traditional poetic form. 80
First, the review comments on the collection’s new voice and original thought,
with criticism of the general opinion that it is filled only with lovesickness. The review
goes on to describe what the reviewer does not like about tanka and shintaishi of the
moment: their lack of life and heart, their inauthenticity and pretentiousness. The
shintaishi are crude and vague, and the tanka field is full of writers who are satisfied
with mediocre thought. Its landscapes are limited to the painterly, and its human
sentiments to the faultless aristocratic and filial. 81
The review characterizes Tangled Hair, by contrast, as pioneering a passionate,
revolutionary kind of poetry. If perhaps it lacks a calmer range of emotions, it is
nevertheless sharp in its rhythms and startling in its liberated thoughts. As a work by a
woman, the review states, the collection is especially to be welcomed, and anyone who
79
Bin’s review in October was not the first published review of Tangled Hair. Short
reviews appeared in the September 1, 1901, issues of Book Collection (文庫: Bunko),
New Arts (新文藝: Shin bungei), Flowers of the Heart (こころのはな: Kokoro no hana),
New Literary Arts (新文藝: Shin bungei), and Imperial Literature.
80
It may have helped that the tanka form was regarded as a relatively feminine poetic
form, in part because of its traditional use of ostensibly pure Japanese language in the
“woman’s hand” (that is, hiragana), and as the counterpart to supposedly more
masculine poetry written in Chinese.
81
Myōjō, no. 16 (Oct. 5, 1901), 1.
44
deprecates it is “no friend to art.” 82
More specifically, Tangled Hair has also been welcomed as the successor to
Tōson’s Seedlings. In his recent biography of Tōson, for example, Naff writes, “Yosano
Akiko’s Tangled Hair, which is virtually a sequel to [Seedlings], is a close second [to it],
but it was inevitable that after her, the power of mere novelty, however brilliantly
informed and executed, would rapidly attenuate.” 83 Akiko, Naff argues, is the “poet
most influenced by Tōson and the one who stands as his only direct heir in
poetry. . . .Tōson’s achievement established the necessary preconditions for Akiko’s
career in much the same way that Kitamura Tōkoku’s work had established the
preconditions for his.” 84
Akiko herself later claimed that she never sought to “reform poetry.” 85 But her
statement should not be taken at face value: humility and the intervening years, along
with a reputation that afforded her the luxury of self-deprecation, would have colored
her characterization of her early work, which she always sought to outgrow.
Furthermore, the unmistakable effect of her poetry was a poetic reform, both in the
tanka whose diction she helped expand, and in free verse which she helped pioneer.
Makoto Ueda, for example, presents her lessons on tanka as course corrections to stop
82
Myōjō, no. 16 (Oct. 5, 1901), 4.
83
Naff, 171.
84
Naff, 165-166.
85
Makoto Ueda, Modern Japanese Poets and the Nature of Literature (Stanford:
Stanford University Press, 1983), 53; citing Teihon Yosano Akiko zenshū (Authoritative
complete works of Yosano Akiko), vol. 12, 476.
45
the spread of shasei. 86
Outline of Chapters
Each of the three body chapters of this dissertation takes up a small number of
poems and critical writings to examine how each poet pursued a lyricism that sought
ideals and mined poetic allusions to go beyond shasei and beyond “nature.”
Chapter one examines Shimazaki Tōson’s early concern with the poet’s
descriptions of and journeys into nature. In two early essays, “The Shade of the Grape
Plant” (葡萄の樹の蔭: Budō no ki no kage) and “On Poetry” (韻文に就て: Inbun ni
tsuite), Tōson emphasizes the importance of the poet’s imagination and passion in
seeing into nature. He does not address the cultural prism through which the poet sees
nature; yet that cultural prism informs his early poems, of which I examine three from
his collection Seedlings. The poem “Song of the Autumn Wind” (秋風の歌: Aki kaze no
uta) is an ode, seemingly modeled on Shelley’s “Ode to the West Wind,” but to the
transience of human life in the face of nature’s indifferent and ineluctable entropy. The
spring that cannot “be far behind” in Shelley’s poem is deferred, but it reappears in
“Pillow of Grass” (草枕: Kusamakura). In that poem, the lonely poetic speaker is able to
metabolize his melancholy in a bleak seaside landscape that nonetheless resounds with
conventional significance, and this prepares him to reenter society. In “Rambling
Through the Deep Woods” (深林の逍遥: Shinrin no shōyō), the speaker begins in a
86
Makoto Ueda, Modern Japanese Poets and the Nature of Literature (Stanford:
Stanford University Press, 1983), 53.
46
conventionally significant forest filled with a classical catalogue of flora. But over the
course of the poem, urged on by spirits of the mountain and trees, the speaker goes
where there is no path and melts into the scenery. In other words, Tōson has detailed a
poetic evolution towards description that is both more fantastic and more realistic. By
the end of Tōson’s poetic career in 1901, when he wrote the essay “Refined Language
and Poetry” (雅言と詩歌: Gagen to shiika), he had become skeptical of what he saw as
the prosodic and expressive limitations of the Japanese language. His skepticism
coincided with, and seems partially to have motivated, his move towards realist prose.
But in giving up on seeing ideals in the prisms of culturally constructed meanings of
natural phenomena, Tōson was also turning his back on an affective intimacy with this
construct. Nevertheless, when his collected poems were published in 1904, he proudly
proclaimed the arrival of a new age of poetry to Japan, and his own role in bringing it.
Chapter two takes up Doi Bansui’s recursively poetic investigations into the role
of the poet in interpreting the universe and the ideals other poets have invested in it.
Beginning with discussions of Bansui’s preface to his collection Nature Has Feelings
and the translations on poetry from Western writers that he appended to it, I show how
Bansui was keen to insert himself and his readers into a global poetic tradition. In two
poems from the collection, “Poet” (詩人: Shijin) and “The Universe and the Poet” (萬有
と詩人: Ban’yū to shijin), he then takes the ironic stance of a non-poet and asks his
poetic interlocutor—his muse, really—to reveal the secrets of nature to him. In doing so,
Bansui seeks ideals in nature and ideals in the poet. In “Evening Thoughts” (夕の思ひ:
Yūbe no omoi) and “Evening Bell” (暮鐘: Boshō), however, his poetic speakers lament
47
the transience and bitterness of lofty ideals. Yet neither is entirely pessimistic. In
“Evening Thoughts,” the speaker carves a niche between the hope of ideals and the
despair of reality. In “Evening Bell,” he sees the progressive erosion of humanity’s
ideals, which echo in the sound of a temple bell, as the very stuff of reality. The two
poems thus suggest that the aim of the poet is neither realism nor idealism, but a course
that charts and preserves the fissures between the two.
Chapter three focuses on Yosano Akiko’s multifaceted and even contradictory use
of supernatural symbols to strike out in iconoclastic ways against the strictures of sexual
mores and traditional poetic practice. Of the 399 tanka in Tangled Hair, over onefourth have references to deities, religious sites and texts, sin, priests, devils, and so
forth. The poetic speakers of these poems are sometimes devout, sometimes defiant,
and often ambivalent in the face of religious standards. While many of the references
might be dismissed simply as metaphors for the divinity of love or lust, particularly as
they do not reflect any devout beliefs of the poet herself, such a dismissal overlooks the
rhetorical suppleness that such inventions impart to the brief tanka. Akiko mixes
supernatural symbolism with traditional tanka diction and allusions, and the resulting
layers of meaning are all the more outrageous for this combination. They not only
appeal to—and sometimes upend—religious ideals, but also invoke ideals of nature as
normative with or against such religious ideals. In this light, even the moments of
realistic description are fraught with moral significance. Akiko thus constructs a poetic
cosmos always teeming with intermingled deities and humans, both exalted and both
coarsened by passion. The prominent but contestable status of the supernatural in the
poems both extends beyond the natural and undermines the reliability of the natural.
48
A brief conclusion ties together the poetic strategies of Tōson, Bansui, and Akiko
through the prism of Natsume Sōseki’s novel Pillow of Grass (草枕: Kusamakura, 1906).
The narrator of the novel charms us with his tangled meditations on the dynamics
among artist, nature, and intertexts, even as his own attempts at poetry and painting fall
flat. The tension between the fumbling, idealistic narrator and Sōseki the skillful author
opens up reflexive questions about the poet’s mediated relationship to nature, and about
the allusive and idealistic power of intertexts.
Finally, an appendix presents English translations of a number of shintaishi from
Tōson’s Seedlings and Bansui’s Nature Has Feelings, most of which have never been
published in translation.
49
CHAPTER ONE: MELTING INTO SHIMAZAKI TŌSON’S POETIC LANDSCAPES
To investigate nature is the poet’s lifelong burden, and also the poet’s
desire.
—Shimazaki Tōson, “The Shade of the Grape Plant” 1
To grasp mental freedom, as if to dance into a new nature.
—Shimazaki Tōson, “On Poetry” 2
This chapter will focus on three descriptive yet lyrical poems from Shimazaki Tōson’s
(島崎藤村, 1872-1943) first poetry collection, Seedlings (若菜集: Wakanashū, 1897), as a
way of delineating a range of new tools that Tōson made available for describing and
interacting poetically with nature. In the famous “Song of the Autumn Wind” (秋風の
歌: Aki kaze no uta), the poetic speaker sings an ode to the personified autumn wind. 3 It
is an ode that sounds a familiar note of humans’ impermanence in the face of natural
cycles. The speaker remains detached from the scene, however, while the autumn wind
acts upon the temporal world. Then, in the poems “Pillow of Grass” (草枕:
Kusamakura) and “Rambling Through the Deep Woods” (森林の逍遥: Shinrin no
shōyō), Tōson’s poetic speakers increasingly explore emotional and ecological niches in
order to find comfort and stabilize their moral identities. In “Pillow of Grass,” the moral
1
“Budō no ki no kage,” Bungakkai (Literary world), no. 32 (August 1895), 2. (It should
not be confused with Tōson’s poem of the same name, which appeared in Seedlings.)
2
“Inbun ni tsuite,” Taiyō (The sun), Dec. 1895; reprinted in Shimazaki Tōson zenshū
(The complete works of Shimazaki Tōson), vol. 1 (Tokyo: Shinchōsha, 1950), 228.
3
For full translations of the poems discussed in this chapter, see Appendix A.
50
speaker overcomes his social and emotional alienation by applying cultural convention
to—and thus escaping the paradoxical limitations of—a boundless landscape. The
traveling speaker thus purifies his moral identity in an abundance of mediated solitude,
and this allows him to contemplate returning to civilization. In “Rambling Through the
Deep Woods,” the sensual speaker finds plenitude, becomes part of the plenitude, within
the forest’s limits. These poems dance between absorption in and alienation from
nature, in a process of continual metabolism of self with that nature.
But nature is not an unproblematic external reality; rather, it is what Haruo
Shirane calls a “secondary nature,” mediated by intertexts and allusions. 4 Thus, the
happiness or completeness to be found never completely escapes the social setting, the
literary ecosystem, even when the poetic speaker is most alone, as in the poems
discussed here. Specifically, the innovation of Tōson’s poems is not to describe scenery
as it appears to an observer positioned in the landscape, stripped of any conventional
symbolic meaning or what Karatani Kōjin calls “transcendent,” painterly writing. 5 For if
anything, to describe nature faithfully for Tōson would be to describe with the faith that
nature is invested with moral meaning. In discussing Tōson’s faith in nature’s moral
meaning, his religious background would seem to be relevant. He had been baptized a
Christian and took part in literary circles with influential Christian writers, notably his
friend Kitamura Tōkoku (北村透谷, 1868-94) and Iwamoto Yoshiharu (巌本善治,
4
Haruo Shirane, Japan and the Culture of the Four Seasons: Nature, Literature, and
the Arts (New York: Columbia University Press, 2012), 26.
5
Karatani Kōjin, Origins of Modern Japanese Literature, trans. ed. Brett de Bary
(Durham: Duke University Press, 1993), 21.
51
1863-1942), the founder of Women’s Learning Magazine (女学雑誌: Jogaku zasshi,
1885-1904). Yet by the time of Seedlings, Tōkoku had died and Tōson’s religious belief
had lapsed, so it is difficult to trace any direct influence on the poems. Compare the
Christian influence on the views of nature of a contemporaneous writer, Uchimura
Kanzō (内村鑑三, 1861-1930). Karatani holds that Uchimura’s Christian, Cartesian view
allowed him to “discover landscape” in literature, and to see nature as “simply nature,”
which “exists only by virtue of the existence of the spirit or of an inner world.” 6 Kamei
Hideo argues against Karatani that Uchimura’s own descriptions of nature are imbued
with biblical references. 7 Although I have found no similarly obvious biblical references
in Tōson’s poetry, Kamei’s point should remind us that Tōson’s poetic refuge in nature is
constantly mediated by, perhaps we should say intersubjective with, the conventional
sensibilities produced by these secondary natures.
Given that the poems were first published in the short time between November
1896 and March 1897, my goal is not to delineate a developmental arc of Tōson’s
descriptive poetry. Rather, my aim is to show how these early nature poems developed
ideas of beauty and goodness that invested nature with both moral agency and an
intertextual texture that weaves together conventional symbolism. I hope that the
narrow focus of this chapter may provide readers with another part of the literary
landscape, a landscape that has too often separated Tōson’s career simply into lyrical
6
7
Karatani, 88.
See Kamei Hideo, Transformations of Sensibility: The Phenomenology of Meiji
Literature, trans. ed. Michael Bourdaghs (Ann Arbor: University of Michigan Center for
Japanese Studies, 2002), 238-43.
52
love poetry followed by naturalist prose. 8
That literary landscape is also belied by Toson’s own critical essays on poetry,
which misstate the work his own poems do. This chapter will first examine two of
Tōson’s early essays on poetry, then jump ahead to compare them with the rhetoric of
Tōson’s preface to the 1904 collection of Tōson’s Collected Poems (藤村詩集: Tōson
shishū), and, after analyzing the three poems, conclude with an analysis of three nature
poems from Seedlings.
Nature and the Poet: Two Essays on Poetry Before Seedlings
The essays “The Shade of the Grape Plant” (葡萄の樹の蔭: Budō no ki no kage)
and “On Poetry” (韻文に就て: Inbun ni tsuite), quoted in the epigraphs above, reveal
Tōson’s early critical concern with putting descriptions of “nature” (自然: shizen) into
poetic language. Published in the August and November 1895 issues of Literary World
and The Sun, respectively, the essays come roughly a year before he composed the
poems to be included in Seedlings. Tōson’s poetic output up to this point had been in
the form of verse dramas; it was not until July 1896 that he published a set of short
lyrical poems entitled “Summer of This Year” (ことしの夏: Kotoshi no natsu) in
8
Credit must be given to James R. Morita, however skeptical he remains of Tōson’s
poetic capabilities, for seeing that “Tōson was not merely a romantic poet who sang only
in the spring, much less the ordinary naturalistic novelist he is sometimes remembered
as. Behind his autobiographical novels lay the above poems, which contained elements
that developed into his novels. It was the rare blend of these poetic qualities that
distinguished his prose works from those of other novelists who lacked it.” Morita,
“Shimazaki Tōson’s Four Collections of Poems,” Monumenta Nipponica 25:3-4 (1970),
369.
53
Literary World. My exclusion of Tōson’s dramas from this study should be understood
neither as rejecting their status as poetry, nor as discrediting their quality; and indeed,
the generic difference between his verse dramas and his dialogic poems is not very great.
The main difference is in the diction: the former come across as old-fashioned jōruri
(chanting that accompanies puppet theater). 9 What is more important for our purposes,
the verse dramas do not capture the lyric subjectivity of a subject interacting with
nature. As Togawa Shinsuke reminds us, “the real feeling [実感: jikkan] behind
[dramatic verse (劇詩: gekishi)] is relatively lacking compared with [lyric poems (抒情
詩: jojōshi)].” 10 We may not agree that lyric poems, especially those of Tōson, have such
unproblematic distinctions; perhaps we should even avoid using the term “lyric” to refer
to those poems whose speaking subjects have emotional worlds of their own apart from
the writer. But it is dangerous to be drawn into distinctions between expressive and
mimetic arts, distinctions that have proved tricky even going back to Plato and
Aristotle. 11
In the first of these two essays, “The Shade of the Grape Plant,” Tōson flies into
9
On this characterization, see Takahashi Masako, Shimazaki Tōson: Tōi manazashi
(Shimazaki Tōson: Distant views) (Osaka: Izumi shoin, 1994), 25.
10
Togawa Shinsuke, “Wakanashū to kinsei kayō: ‘Junsui naru Nihon sō’ o
megutte” (Seedlings and modern ballads: Towards a ‘pure Japanese thought’”), Nihon
bungaku (Japanese literature) 30:1 (Jan. 1981), special issue: Kotoba to no deai: Meiji
ni, sanjū nendai (Meeting with language: The Meiji twenties and thirties): 32.
11
Plato stumbles at the outset by taking language unproblematically as a “natural sign.”
See also Murray Krieger’s discussion of Plato’s argument in The Sophist, in which Plato
limits his charge against poetry to dramatic poetry because of its representational
quality. Krieger, Ekphrasis: The Illusion of the Natural Sign (Baltimore and London:
The Johns Hopkins University Press, 1992), especially 67-75.
54
fanciful rhetoric to describe the activity of the poet. He recognizes the multivalent
meanings of a word like “nature” (自然: shizen), and he problematizes the role of the
poet in interacting with whatever that “nature” is:
The word nature already has multiple meanings, from the broad sense of
that which is outside of humans, to the deep sense of all creation (造化萬
有: zōka ban’yū). There have therefore been multiple ways to investigate
nature, so that each poet in old times followed a different path with respect
to nature, and all poets had their own natures. Thus, in the beginning
nature was inexhaustible, or you could say it had a certain significance.
There are those who see ecstasy [燥狂: sōkyō] and reach clarity [静澄:
seichō]. Or, in a crazed haste [性急疳癖: seikyū kanpeki], they flash like
lightning into the bosom of nature, and bring back water scooped up from
a clear spring. . . .Or, fearing the competitive world of the survival of the
fittest [弱肉強食: jakuniku kyōshoku], they hurl themselves into dark
nature’s raging billows [怒濤: dotō]. There are those who, having once
cast nature aside, are then shocked to have to gather up nature. . . .Then
there are those who, like losing generals in the real world, stand hidden in
the fortress of nature, and as if still in the real world they wave their
frightening swords around and try to fight against nature. If the
imagination is not rich, then the interest [趣味: shumi] will not be deep; if
the interest is not deep, then the insight will not be brilliant; if the insight
is not brilliant, then the passion will not be pure; and if the passion is not
pure, then one cannot hear the inmost voice [最深なる聲: saishin naru
koe] of nature. Again, the investigation of nature is difficult, is it not? 12
Two properties stand out in this passage. First, Tōson recognizes the problematic but
necessary task of the poet to penetrate into the mysteries of the universe—a task
explored in greater detail by Doi Bansui in his poems and translations of Percy Bysshe
Shelley (1792-1822) and Ralph Waldo Emerson (1803-82). 13 Tōson’s formula of
12
Shimazaki, “Budō no ki no kage,” Bungakkai (Literary world), no. 32 (August 1895),
2.
13
See chapter two.
55
progress from poet to nature goes as follows: rich imagination, deep interest, brilliant
insight, pure passion, access to nature’s inmost voice. I might have placed insight next
to access to nature, and moved passion somewhere near imagination. Though twisted,
it is still a characteristically Romantic chain, calling on intellectual and emotional
faculties in the active search for nature’s secrets. It may remind us of the Wanderer in
William Wordsworth’s (1770-1850) The Excursion, who recognizes, as Jonathan Bate
writes, “Everything is linked to everything else, and, most importantly, the human mind
must be linked to the natural environment.” 14
Second, in the use of the term “the survival of the fittest,” Tōson betrays a timely
awareness of late nineteenth-century discourses on science and nature. The phrase
“survival of the fittest,” though popularly attributed to Charles Darwin’s (1809-82)
theory of evolution by natural selection, was in fact coined by social theorist Herbert
Spencer (1820-1903). 15 The intertwining of Darwin and Spencer should remind us that
biology and sociology were not discrete bodies of knowledge or sources of discourse.
Tōson’s reference to the survival of the fittest, in an essay about poets’ recourse to the
riches of nature, reminds us how fundamentally the stakes and ideals of writing poetry
can be affected not only by swift social change, but by scientific discovery and its
14
Jonathan Bate, Romantic Ecology: Wordsworth and the Environmental Tradition
(New York: Routledge, 1991), 66; citing H. W. Piper, The Active Universe: Pantheism
and the Concept of the Imagination in the English Romantic Poets (London, 1962), 122.
15
According to Julia Adeney Thomas, Spencer was by far the more influential thinker in
nineteenth-century Japan: Darwin’s “science was deemed secondary to Spencer’s social
theory”; and Spencer was “preeminent among all European political thinkers translated
into Japanese.” Thomas, Reconfiguring Modernity: Concepts of Nature in Japanese
Political Ideology (Berkeley and Los Angeles: University of California Press, 2001), 104,
117.
56
cascading discourses. As Takahashi Masako points out, “What we must not overlook
about the formation of nature-centered literature in the Meiji thirties [1897-1906] is the
way it was able to see the invisible parts of ‘nature’ thanks to the acquisition of scientific
knowledge.” 16
Tōson proceeds in the next paragraph to describe Wordsworth and George
Gordon Byron (1788-1824), with references to Wordsworth’s sonnet on Westminster
Bridge and his Rydal Mount home. 17 The mention of the sonnet, whose full title is
“Composed on Westminster Bridge, September 3, 1802,” is telling, as it sings of a
harmonious beauty of wild and cultivated together, not of some distinct non-human
“nature.” Wordsworth suggests that the city is the passive recipient of nature’s beauty:
“The City now doth, like a garment, wear / The beauty of the morning”; but it is a beauty
that outdoes the beauty of wilderness: “Never did sun more beautifully steep / In his
first splendor, valley, rock, or hill.” 18 In other words, the Wordsworth to whom Tōson
and others looked provided a model of order and harmony, in which the wild and
16
Takahashi Masako, 240. This insight is also at the heart of Gregory Golley’s study of
literary modernism in the early twentieth century, during which time scientific
discoveries gave writers new tools for knowing reality beyond direct sensual perception.
See Golley, When Our Eyes No Longer See: Realism, Science, and Ecology in Japanese
Literary Modernism (Cambridge: Harvard University Asia Center, 2008).
17
Wordsworth was of great importance to the members of the Literary World group,
and especially to Tōson. They all would have been familiar with references to
Westminster Bridge and Rydal Mount. See Yano Hōjin, “Bungakkai” to seiyō bungaku
(“Literary world” and western literature) (revised edition; Tokyo: Gakuyūsha, 1970),
66-67.
18
Wordsworth, “Composed Upon Westminster Bridge, September 3, 1802,” lines 4-5
and 9-10.
57
cultivated were brought together by some centripetal force. 19
Does the poet simply transcribe this harmony? Is the poet’s role, like the City’s,
simply to reflect nature’s glory? Wordsworth, Tōson writes, “recited nature with his
mouth, regarded nature with his eyes, listened to nature with his ears.” 20 Such a
statement appears to simplify one possible ideal of poetry as direct transcription of
sensory input, or, in terms familiar to Tōson’s time, “sketching from real life” (写生:
shasei). But Tōson implicitly rejects such simplicity, as when he notes that Robert
Burns (1759-96) “made nature his friend” while Wordsworth “made nature his god.” 21
In such a way, a great poet must invest the subject with subjectivity, and lose some
poetic objectivity. How else can a poet say anything new? Tōson posits: “Though nature
has voices, if they are not new, then they will not teach us anything of deep significance.
Though nature has colors, if they are not new, then they will not hold great charm for
us.” 22 The burden is on nature to provide new notes and new tones, but by extension it
is also on the poet to hear and see those tones.
Tōson underlines the poet’s need to see and hear nature in his essay “On Poetry.”
We may even be excused for thinking that access to knowledge of nature is what the
essay is about, for it begins with the proclamation, “What we must know is nature” (知る
19
We might have expected Tōson then to link Byron with disorder and centrifugal
forces, but he does not go into any great detail about Byron in this essay.
20
“Budō no ki no kage,” 2.
21
“Budō no ki no kage,” 3.
22
“Budō no ki no kage,” 3.
58
べからざるものは自然なり: shiru bekarazaru mono wa shizen nari), 23 and it ends with
the rhetorical question, “For how long will the Meiji poetry circles be able to put up with
outdated nature [舊自然: kyū shizen]?” 24 In between these bookends, Tōson refers to
the familiar figure of the poet as an aeolian harp upon which nature plays its tune. 25
Yet the bulk of the essay is actually devoted to castigating what he sees as the
stale diction and meter of Japanese. That is, once Tōson comes down from his abstract
perch to discuss what can be improved in contemporary poetry, he arrives at the need
not to attend to nature but to overhaul poetic language. Nevertheless, as William E.
Naff has pointed out, Tōson’s own poetry did not depart very far from “a 7-5 meter and a
large measure of classical poetic diction even while doing some revolutionary things
with usage and with stance.” 26
This kind of “poetic” language is doubly outdated when it is used to represent the
spoken language of characters in Tōson’s verse dramas of the time: for if realistic
depiction is the ideal, then the characters’ speech ought to sound like the speech of
ordinary people, who would not speak in meter. Though heavily influenced by
Wordsworth, Tōson seems not to have been swayed by Wordsworth’s (somewhat
23
Shimazaki, “Inbun ni tsuite,” Taiyō (The sun), Dec. 1895; reprinted in Shimazaki
Tōson zenshū (The complete works of Shimazaki Tōson), vol. 1 (Tokyo: Shinchōsha,
1950), 227.
24
“Inbun ni tsuite,” 232.
25
See also chapter two, which discusses Doi Bansui’s translation of, and debt to,
Shelley’s Defence of Poetry.
26
Naff, The Kiso Road: The Life and Times of Shimazaki Tōson, ed. J. Thomas Rimer
(Honolulu: University of Hawai‘i Press, 2011), 153.
59
disingenuous) statement in his 1800 preface to Lyrical Ballads: “I propose to myself to
imitate, and, as far as possible, to adopt the very language of men.” 27 For Tōson, neither
“the very language of men” nor realistic dialogue is yet on the horizon. The same holds
true for poets in general, as poetry seems to play no part in the “unification of speech
and writing” (言文一致: genbun itchi) movement, at least not in its 1890s state. 28
On the other hand, Tōson does share Wordsworth’s admiration for the “low and
rustic life.” Again, in Wordsworth’s preface to Lyrical Ballads, we read:
Low and rustic life was generally chosen [for poetic topics] because in that
situation the essential passions of the heart find a better soil in which they
can attain their maturity, are less under restraint, and speak a plainer and
more emphatic language; because in that situation our elementary feelings
exist in a state of greater simplicity and consequently may be more
accurately contemplated and more forcibly communicated; . . .and lastly,
because in that situation the passions of men are incorporated with the
beautiful and permanent forms of nature.29
Tōson could very well have had this passage in mind when he was crafting the formula
in “The Shade of the Grape Plant” discussed above. Both he and Wordsworth seek the
harmony of human passions and nature: Wordsworth’s “simplicity” of “feelings” echoes
in Tōson’s “purity” of “passions.” And Tōson sought the “low and rustic life” when he
went to Sendai, where he wrote most or all of the poems in Seedlings, and to Komoro,
27
William Wordsworth, “Preface” to Lyrical Ballads, in Anne K. Mellor and Richard E.
Matlak, British Literature 1780-1830 (Fort Worth: Harcourt Brace & Co., 1996), 576.
28
Compare Wordsworth’s statement on language in his 1802 “What is a Poet?” addition
to the preface to Lyrical Ballads: “Unless therefore we are advocates for that admiration
which depends upon ignorance, and that pleasure which arises from hearing what we do
not understand, the Poet must descend from this supposed height, and, in order to
excite rational sympathy, he must express himself as other men express themselves.”
Wordsworth, in Mellor and Matlak, 579.
29
Wordsworth, in Mellor and Matlak, 574-75.
60
where he wrote later poems and Chikuma River Sketches (千曲川のスケッチ:
Chikumagawa no suketchi, 1912). Indeed, many treatments of Shimazaki Tōson’s poetry
make much of the fact that he wrote most of the poems of Seedlings while he was living
in Sendai. 30 But did the location affect his compositions? Did the remoteness from
Tokyo hone his concentration? Sendai was neither metropolis nor native place for
Tōson. Was it then a site that prompted Tōson to write poems of travel?
Of course, in traveling to Sendai, Tōson was also tracing the footsteps of earlier
peripatetic poets, notably Saigyō (西行, 1118-90) and Matsuo Bashō (松尾芭蕉,
1644-1694). Kawabata Toshifusa sees Tōson’s journey to Sendai as a poetic pilgrimage
in the footsteps of Saigyō and Bashō, in the same way that Tōson’s 1893 voyage to
Kansai was that of a wandering truth-seeker hoping for guidance from earlier poets. As
Kawabata writes, “His yearning for the ancients was a desire to connect with the spirit of
predecessors who had lived on the road [旅に生きた: tabi ni ikita], and we might say the
journey that he was impelled to follow stemmed from his truth-seeking character [求道
的性格: gudōteki seikaku] as one who aimed at the life a pilgrim [人生の巡礼者を目指し
た: jinsei no junreisha wo mezashita].” 31 This may be so, but Tōson does not follow
Bashō by frequently, and explicitly, alluding to the importance to literary history of the
30
See, for example, Fuji Kazuya’s Shimazaki Tōson no Sendai jidai: “Wakanashū” o
megutte (Shimazaki Tōson’s time in Sendai: A look at “Seedlings”) (Sendai: Man’yōdō,
1977); and Shimazaki Tōson “Wakanashū” no sekai (The world of Shimazaki Tōson’s
“Seedlings”) (Sendai: Man’yōdō, 1981).
31
Kawabata Toshifusa, Shimazaki Tōson no ningenkan (Shimazaki Tōson’s view of
humanity) (Tokyo: Shin Nihon shuppansha, 2006), 42.
61
places he visits. Instead, he submerges his poetic debts in subtlety. In other words, the
poetic travels undertaken in Seedlings evince not a truth-seeking character so much as a
synthesis of secondary nature.
Nevertheless, Kawabata is right to attach great importance to travel in Tōson’s
poems and prose. He follows Seki Ryōichi in writing that Tōson’s travel poems are
representative of his poetry as a whole. To support this assessment, he furnishes such
examples as “Pillow of Grass” from Seedlings, “A Spring Evening’s Parting” (晩春の別
離: Banshun no betsuri) from Summer Grass (夏草: Natsukusa, 1898), and, from Fallen
Plum Blossoms (落梅集: Rakubaishū, 1901), “Beside the Old Castle at Komoro” (小諸な
る古城のほとり: Komoro naru kojō no hotori), “Song of Travel on the Chikuma
River” (千曲川旅情の歌: Chikumagawa ryojō no uta), and “Fruit of the Coconut” (椰子
の実: Yashi no mi). 32 Nor was Sendai central to his outlook and nature-sketching in the
way that Komoro would be for his later Chikuma River Sketches. Komoro had the
advantage of being in the same region as Tōson’s hometown of Magome, which made it
resonate more as a “native place.” Tōson also spent six years there, from 1899 to 1905,
as opposed to less than a year in Sendai. Stephen Dodd writes that “the emergence of
furusato [故郷: native place] literature as a means to articulate the perceived
shortcomings of city life turned out to be at least as important in [affecting] the direction
32
Seki Ryōichi, Kōshō to shiron: Shimazaki Tōson (Historical investigation and essay:
Shimazaki Tōson) (Tokyo: Kyōiku shuppan sentā, 1984), 403.
62
of [Tōson’s] work.” 33 The blooming ideal of the furusato may have affected Tōson’s
writing, but we have already seen how Wordsworth’s appeal to “rustic life” could have
inspired Tōson’s own poetic journeys to remote places; and it seems more likely that the
furusato ideal did not affect Tōson’s early poetry. A further confusing factor in the
reception of Tōson’s work is that although Chikuma River Sketches was not published
until 1912, its genesis goes back to experiences in Komoro as early as 1899 or 1900. 34
The scenery of Mt. Asama and the Chikuma River not only inspired some of the poems
from Tōson’s fourth poetry collection, Fallen Plum Blossoms; but around the same time,
as Seki argues, Tōson began to incorporate “objective descriptions of nature as it really
was” in the manner of Western painting and realism. 35
These later works helped confer on Tōson a reputation for straightforward
descriptions of nature, and in turn harmonized with judgments of his naturalist novels,
beginning with Broken Commandment (破戒: Hakai), which was published in 1906.
But that does not mean that anyone has claimed that Tōson’s poetry partook in the
“realistic” sketching techniques he later adopted. Dodd, for one, does acknowledge that
Tōson’s “shift to prose was not instantaneous but part of a lengthy process during which
prose and poetic elements continued to inform each other. The narrative elements
detectable in [Seedlings] became increasingly noticeable in his other three volumes of
33
Stephen Dodd, Writing Home: Representations of the Native Place in Modern
Japanese Literature (Cambridge: Harvard University Press, 2004), 81.
34
See Shimazaki Tōson, Tōson shishū (Tōson poetry collection), vol. 15 of Nihon kindai
bungaku taikei (Compilation of modern Japanese literature), ed. Yamamura Shizuka,
Seki Ryōichi, and Kenmochi Takehiko (Tokyo: Kadokawa shoten, 1971), 657.
35
Seki, 427.
63
poetry.” 36 In fact, however, Tōson experimented with narrative techniques in his poetry
even in his earliest works. Poems such as “Rambling Through the Deep Woods” trouble
our dichotomous classifications of realistic and fantastic by incorporating strains of
both. This is, in fact, part of their stirring power.
The 1904 Preface to Tōson’s Collected Poems
It is common to point to Tōson’s introduction to the first printing of Tōson’s
Collected Poems of 1904 as a milestone in giving the movement(s) to modernize poetry
their boldest articulation in romantic, exhortatory terms. But the preface was written
seven years after Seedlings first appeared. As with Doi Bansui’s preface to Nature Has
Feelings (天地有情: Tenchi ujō, 1899), Tōson’s poetic preface was written after most or
all of the individual poems had been published, read, and commented on. In the case of
Bansui’s preface, though, the fact that it appeared in the first edition of his first poetry
collection gives the reader a stronger sense of the unity of purpose the preface might
share with the poems. To complicate matters of Tōson’s purpose in writing the preface
in 1904, as Fuji Kazuya has pointed out, Tōson had already completed his shift from
writing poetry to writing novels. Fuji also speculates that if Ueda Bin’s Sound of the
Tide (海潮音: Kaichōon, 1905) had been published before Tōson’s Collected Poems, the
state of Japanese poetry that Tōson’s preface described would have been much
36
Dodd, 90.
64
different. 37 Even Tōson’s own output is misrepresented by the four “poetry” collections
published between 1897 and 1901, which increasingly mix in prose elements. These
collections’ canonization of only certain works erases the trace of the early experiments,
and the subsequent excising of prose from Tōson’s Collected Poems in 1904 further
distills Tōson’s output of its various elements.
What purpose, then, does Tōson’s belated preface serve? Many readers will have
been presumed to be familiar with the poetry already. The preface therefore tells them
less how to read what is fresh and unfamiliar, and more how to judge a historical
moment in retrospect. That historical moment, according to Tōson, seems to be a
resurrection of a golden age. The preface begins by reflecting on that moment:
Finally, the time of a new poetry had come.
It was like a beautiful dawn. Some cried out like the ancient
prophets, and some called out like poets of the West, but all of them
seemed drunk on brilliance and new voices and fantasy.
Their childlike imagination awoke from its long sleep and adorned
the words of the people.
Legends were resurrected. Nature wrapped itself in new colors
once more.
Towards the end of the preface, Tōson emphasizes the importance of newness:
I, too, forgot how worthless I was and harmonized with the voices of
the new poets.
Tōson’s preface also regurgitates Wordsworth’s well-known statement that poetry
should express “emotion recollected in tranquillity.” Tōson’s version of that goes as
follows: “Poetry is emotion [感動: kandō] recollected [思ひ起したる: omoi-okoshitaru]
37
Fuji Kazuya, “Tōson no shi ni okeru dentōsei to kakushinsei” (Tradition and
revolution in Tōson’s poetry), in Kindai shisō: bungaku no dentō to kakushin (Modern
thought: tradition and revolution in literature), edited by Itō Kazuo (Meiji shoin, 1986),
363-364.
65
in a quiet place [静かなるところにて: shizuka naru tokoro ni te].” 38
Tōson’s Poems Enter the Landscape
Oddly, the superiority of Seedlings may be indexed by its very lack of a
pretentious preface. Other collections of poetry typically displayed the grandiose
aspirations of the poets and their champions (sometimes compilers, sometimes literati
acting as cheerleaders) in prefaces—sometimes several for one collection, in fact. Tōson
himself wrote misleading essays about both his own poems and contemporary poetry in
general, as we have seen. 39 In 1897, however, the closest thing to a preface to the
collection was a short, untitled epigraphic poem Tōson wrote entirely in hiragana. The
phonetic syllabary forces readers to slow down and subvocalize when reading, to attend
to the rhythms and homophones. Suga Hidemi notes that Tōson’s heavy use of
hiragana in poems such as “The Sound of the Tide” (潮音: Chōon) “forces readers to
38
Wordsworth himself issued his formulation on tranquil recollection (along with the
equally famous but contradictory ideal of poetry as “the spontaneous overflow of
powerful feelings”) in a preface to the second edition of Lyrical Ballads, published in
1800. He then lengthened that preface for the 1802 edition. In this way, Wordsworth,
too, went to considerable lengths to justify and frame the reception of his poems after
they had already been published. Perhaps he should have written instead, “A poetic
preface takes its origin from emotion reflected in tranquillity,” or, “To read a poem is to
recollect emotions in tranquillity.” On Wordsworth’s different versions of his preface,
see Anne K. Mellor and Richard E. Matlak, British Literature 1780-1830 (New York:
Harcourt Brace, 1996), 573-581.
39
Nor was Tōson the only writer to do so. As discussed in the introductory chapter,
poets like Wordsworth and Baudelaire used the opportunity of reprintings of their
poetry collections to stake retroactive and sometimes dubious claims.
66
concentrate on the form of the language.” 40 All but one of the poems in this collection
use 7-5 meter; “Mirage” (逃げ水: Nigemizu) uses 8-6 meter in what commentators call a
deliberate parody of the meter adopted in translating Christian hymns. 41
The exclusive use of hiragana in the epigraph may have signaled a more
feminine, more folksy affect in the group of poems, as well. Indeed, Seedlings is famous
for its love poetry, especially “Six Maidens” (六人の処女: Rokunin no otome), a series of
poems about young women who threw off the chains of sexual repression. These poems,
along with lyrics such as “First Love” (初恋: Hatsukoi), have become synonymous for
many readers with Tōson’s achievement in Seedlings. The “Six Maidens” were so
popular among the poems of Seedlings that they were moved up to the front of Tōson’s
Collected Poems of 1904.
But that is not to say that Tōson was as confidently direct about proclaiming
sexual freedom as Yosano Akiko was to be (see chapter 3). Throughout his long literary
career, even as it shifted from verse drama to lyric poetry, and then to naturalist fiction,
Tōson’s work rehearses conflicts over sexual mores and the metaphysical sources of
morality. Saburō Satō claims,
One conspicuous motif threading through all phases of Tōson’s evolution
is the emotional and at the same time metaphysical anguish arising from
40
Suga Hidemi, Nihon kindai bungaku no tanjō: Genbun itchi undō to nashonarizumu
(The birth of modern Japanese literature: The movement to unify speech and writing
and nationalism) (Tokyo: Ōta shuppan, 1995), 241.
41
Sasabuchi Tomoichi argues that the hymn-like meter in that poem is both “heretical”
and a way of “elevating feelings of love to the level of religious feeling.” Sasabuchi,
“Bungakkai” to sono jidai (“Literary world” and its age), vol. 2 (Tokyo: Meiji shoin,
1960), 994.
67
an ambivalent view of sex, or a traumatic conflict between the yearning for
love, a newly redefined concept, and the guilt over lust that plagued the
Meiji youth. 42
As Satō notes, in Tōson’s early verse drama “Summer Grass” (夏草: Natsukusa, 1892),
“Venus is a goddess, but her heart sways to the earthly senses, while Adonis the man
transcends them to ride the heavenly current.” 43 Against this nod to piety, Satō
describes Tōson’s identification with the lusty stallion in his later work, “Yosaku’s
Horse” (与作の馬: Yosaku no uma, 1895), as “his apotheosis of romanticism, which had
just taught the Japanese intellectuals why and how the modern individual should
liberate his body and soul from the long-imposed yokes of feudal ethics and mores.” 44
42
Satō finds the first literary traces of this ambivalence in Tōson’s 1892 adaptation of
Shakespeare’s Venus and Adonis, whose Japanese title was “Summer
Grass” (Natsukusa). In his foreword, Tōson stresses the superiority of spiritual love
over carnal desire. In Tōson’s estimation, Venus is a goddess with earthly desires, while
Adonis represents a mortal with transcendent emotions. Where Shakespeare’s work
reveals Venus’s love for Adonis but shows nothing of Adonis’s love for anything but the
hunt, Tōson’s adaptation exalts Adonis as an idealist who seeks a loftier love. Saburō
Satō, “‘Venus and Adonis’ in Shimazaki Tōson’s Literary Evolution,” Comparative
Literature Studies 28:3, East-West Issue (1991), 284.
43
Quoted in and translated by Satō, 285. Shakespeare himself had, of course, adapted
Venus and Adonis from Book X of Ovid’s Metamorphoses. But Tōson probably would
not have had access to it, either in the Latin (which he could not read) or in English
translation.
44
Satō, 288. Our account here does not even come close to addressing the scandalous
mixture of love and carnal desire that overcame the widower Tōson after his twentyyear-old niece Komako went to live with him in 1912. Having become pregnant,
Komako then put the child up for adoption; Tōson himself fled to France for three years
to escape the scandal, but later he published the autobiographical novel New Life (新生:
Shinsei, 1919) about the affair. See Takasaka Kaoru, Shimazaki Tōson no sekai: Ai to
kokuhaku no kiseki (Shimazaki Tōson’s world: The tracks of love and confession)
(Osaka: Izumi shoin, 1987), 149-153; also William E. Naff, The Kiso Road: The Life and
Times of Shimazaki Tōson (Honolulu: University of Hawai‘i Press, 2011), 336-338,
621-23.
68
These two extreme inclinations seem hardly to qualify as the “pure passion” and
“brilliant insight” that Tōson exalted in “The Shade of the Grape Plant.” Should his
poems (or plays) about love be held to standards of insight that are different from his
nature poems? Perhaps, but the “metaphysical anguish arising from an ambivalent view
of sex,” in Satō’s words, and the conflict between love and lust can be channelled into,
can inform what on the surface appear to be simply nature poems. The use of elaborate
conceits, to say nothing of escapist fantasies, is hardly unusual. Wada Shigejirō writes,
“The Tōson who could not freely carry love to fruition in real life sought a self that was
free to love through his poetry.” 45 That may be partly true, but he also sought a self, or
at least portrayed a self, that was free to do other things, even to dissolve or metabolize
that self, in nature.
In other words, Tōson sought the refuge of both poetry and prose as domains in
which he could attend to moral ambiguity and ambivalence, as open-ended explorations
whose very processes allowed the setting aside of self (in “Song of the Autumn Wind”),
the reaffirmation of a purified self (in “Pillow of Grass”), or the dissolving of self (in
“Rambling Through the Deep Woods”).
These poetic descriptions of nature are a way to metabolize the poetic speaker’s—
and perhaps the reader’s—misgivings and purify himself, to metabolize himself in
nature. He momentarily becomes part of the landscape. This transformation through
45
Wada also contrasts this use of poetry with Tōson’s autobiographical novel Spring
(春: Haru, 1908), which narrates Tōson’s real-life frustrations around the time of his
friendship with Kitamura Tōkoku and his early poetry. Wada Shigejirō, Kindai
bungaku no chishikijinzō (Portraits of the intellectuals of modern literature) (Kyoto:
Mineruva shobō, 1985), 70.
69
the poetic speaker’s intersubjectivity with nature resituates an emotional insecurity that
may stem from unstated social or sexual guilt, or perhaps existential angst. In any case,
it is not necessary for Tōson’s speaker (or Tōson himself) to make an outright confession
or address the direct causes of his melancholy.
Tōson: Naive or Sentimental?
In “On Naive and Sentimental Poetry,” Friedrich Schiller (1759-1805) categorizes
two kinds of “longing for nature”: there is the longing for its happiness, and the longing
for its completeness. The “sensual” individual longs for, and mourns the loss of, the
happiness to be found in nature. The “moral” individual mourns the loss of nature’s
“completeness.” 46
But if you can take consolation in the loss of natural happiness, then let its
completeness serve as the model for your heart. . . .[T]ake nature up into
yourself and strive to wed its unlimited advantages to your own endless
prerogatives, and from the marriage of both strive to give birth to
something divine. Let nature surround you like a lovely idyll, in which
again and again you find the way back to yourself from the aberrations of
art and gather the courage and new confidence about the course of life, so
that the flame of the ideal, so easily extinguished in life’s storms, is
rekindled in your heart. 47
If we depend on the poet’s role in discovering the idyllic in nature, and in passing it on
to the moral reader, we also depend on the premise that the poet has some sort of
privileged access to nature. Indeed, that putative privileged access is often invoked as
46
Friedrich Schiller, “On Naive and Sentimental Poetry,” translated by Daniel O.
Dahlstrom, in Schiller, Essays, edited by Walter Hinderer and Daniel O. Dahlstrom
(New York: Continuum, 1993), 192.
47
Schiller, “On Naive and Sentimental Poetry,” 193. Emphasis in original.
70
the definition of a poet. 48 But we should note here that in Japan the tradition of
rhetorically elevating poets’ sensibilities follows a different path: instead of having
privileged access to nature, skilled poets were those who adeptly fitted the secondary
nature into sophisticated, culturally sensitive metaphors.
But privileged access is also a reminder of an original separation or
estrangement, as Schiller’s essay demonstrates. M. H. Abrams writes of this, Schiller’s
“second major and immensely influential essay on aesthetics”:
Schiller’s emphasis is on the primary split in the mind’s unity with itself
which converts unself-consciousness into self-consciousness—the
awareness of the self as a subject distinct from the object it perceives, and
the intervention of reflection and choice between instinct and
action. . . .The sentimental, or characteristically modern, poet. . .is selfdivided because self-conscious, and so composes in an awareness of
multiple alternatives, and characteristically represents not the object in
itself, but the object in the subject. 49
The “completeness” Schiller describes may be similar to what eco-critic Karl
Kroeber means when he writes that William Wordsworth found “plenitude” in Grasmere
Vale. “This plenitude,” he claims, “is a function—paradoxically—of the Vale’s
limitedness. By dwelling within its ‘self-sufficing’ wholeness the poet discovers total
integration of psychic and physical being.” 50 Kroeber continues:
To evoke in us a sense of the nurturing ecosystemic wholeness, the poet
must continuously present overlapping or superimposed relationships and
48
For a more thorough treatment of such defenses of poets in the Japanese context, see
my discussion of Bansui’s translations from Shelley’s Defence of Poetry and Emerson’s
“The Poet” in chapter two.
49
M. H. Abrams, The Mirror and the Lamp: Romantic Theory and the Critical
Tradition (New York: Oxford University Press, 1953), 213-14.
50
Karl Kroeber, Ecological Literary Criticism: Romantic Imagining and the Biology of
Mind (New York: Columbia University Press, 1994), 54.
71
patterns of relationship. The superimpositions are especially necessary
because any ecosystem’s wholeness is temporal as well as spatial. An
ecosystem is a constantly self-transforming continuity. 51
Kroeber shows us the intersection of an “ecological” critical perspective with
“Romantic” thinking and literature. For Kroeber, there are
profound implications, cultural as well as ideological, of this
Wordsworthian simplicity without simplification. . . .Romantic
individuality is a singleness incompatible with isolation. Essential to this
perspective is the recognition of each specific element of the whole, not as
equal to every other but as equally necessary in its special fashion to the
integrity of the entire system. 52
Yet when we follow Tōson’s poetic speaker’s search for happiness or completeness in the
enfolding arms of nature, are we not seeking what Terry Giffords calls the “pejorative”
sense of the “pastoral”? The pejorative sense of the pastoral, in Giffords’s usage, is the
idealization of an unproblematic, “comfortably complacent” vision of a natural antidote
to urban society. 53 Perhaps to some degree. In “Rambling Through the Deep Woods,”
the narrator moves tranquilly—or we might simply say objectively—through space, with
no emotions to speak of; his emotional reactions are deferred. Once we have entered
spring at the beginning of the poem, all signs of time’s passing, such as moving clouds
and running water, are stable and unending. Even the traveler’s physical interactions
with his surroundings are told impassively:
Each step tramples an orchid flower,
あゆめば蘭の花を踏み
Wild plum petals land on my sleeves,
ゆけば楊梅袖に散り
And mountain ivy wraps around my hems;
袂にまとふ山
51
Kroeber, 54-55.
52
Kroeber, 56.
53
Terry Giffords, Pastoral (New York: Routledge, 1999), 2.
72
の
Turning over an ivy leaf, I find
のうら葉をかへしては
In the shade of a fern a mountain strawberry
女蘿の蔭のやまいちご
Has dropped its colorful fruit;
色よき実こそ落ちにけれ
Only at the end of the poem, as we move from atemporal description to the progress of a
sunset, do we become aware again of the passage—the tranquil passage—of time,
through the changing colors on an otherwise stable scene. While the “deep woods”
might thus bestow “plenitude” and “self-sufficing wholeness,” the fraught seascape in
“Pillow of Grass” withholds the emotional tranquillity and completeness the speaker has
come to seek out. The happiness he finds at the end of the poem comes not from
tranquillity, not from completeness, but from the exuberant promise of nature’s spring
renovation, and his own metaphorical renovation.
But in Tōson’s “Pillow of Grass,” even though the speaker eventually finds the
antidote, we might instead note echoes of what Giffords sees in Coleridge as a
“preoccupation with the darker presences of his mind, knowing that they had their
reality in external nature, [which] prevented him from being a pastoralist in the
pejorative sense.” 54 But if Coleridge manages to avoid the pejoratively complacent
vision of pastoral, he instead falls into the trap of locating those “darker presences of his
mind” in “external nature,” that is, of reifying “nature” as something closer to “untamed
wilderness,” when he should have located nature in his mind. Tōson’s traveler finds no
pastoral, pejorative or otherwise, in the scene:
54
As the white waves that wash over the reeds
蘆葉を洗ふ白波の
Stream and jet from among the rocks,
流れて巌を出づるごと
Giffords, 71-72.
73
My thoughts spill over this pillow of grass;
思ひあまりて草枕
How many pillows have there now been?
まくらのかずの今いくつ
How sorrowful is the plight of a man,
かなしいかなや人の身の
Desperately seeking abiding comfort,
なきなぐさめを尋ね侘び
Cutting through the pathless woods,
道なき森に分け入りて
Seeking a path that is not there.
などなき道をもとむらん
We return, then, to the question posed above: if Tōson’s poetic speakers seem to
recognize that “external nature” is a construct, as they address it as “secondary nature”
through explicit intertexts and conventional allusions (such as the eponymous pillow of
grass), then are they seeking its completeness naively or its happiness sentimentally?
“Song of the Autumn Wind”: An Ode to Entropy
It was the publication of “Song of the Autumn Wind” that put Tōson on the map
as a poet when the poem was published in November 1896. 55 It is impossible for
scholars not to compare this poem with Shelley’s “Ode to the West Wind,” and it is
unfortunate that such a comparison can only show Tōson’s poem in a dim light. 56
Indeed, when undertaken from the perspective that Shelley’s poem is the original and a
55
So says Donald Keene, Dawn to the West: Japanese Literature of the Modern Era:
Poetry, Drama, Criticism, vol. 4 of A History of Japanese Literature (New York:
Columbia University Press, 1999), 205.
56
I have not seen any scholars compare this ode to John Keats’s ode “To Autumn” or to
Shelley’s “Ozymandias,” though. The former, with its cascade of autumn’s riches, strikes
a completely different tone from Tōson’s; the latter, though not a seasonal poem,
stresses the erosive effects of time on human artifacts. On Keats’s influence on Tōson,
Itō Kazuo writes that Tōson was struck by the former’s emphasis on the contrast
between the brevity of life and the endurance of art, while also moved by his tendency to
connect sensual passions with deeper spiritual states. Itō, Shimazaki Tōson jiten
(Shimazaki Tōson dictionary) (Tokyo: Meiji shoin, 1972), 96.
74
masterpiece, of course Tōson’s poem fails to the extent that it deviates from Shelley’s
vision. Donald Keene points out the superiority of Shelley’s opening apostrophe to the
West Wind:57
O WILD West Wind, thou breath of Autumn’s being—
Thou from whose unseen presence the leaves dead
Are driven, like ghosts from an enchanter fleeing,
Yellow, and black, and pale, and hectic red,
Pestilence-stricken multitudes!
Tōson’s “Song of the Autumn Wind” opens more humbly with this tanka and first
quatrain:
Unrelieved loneliness in my mountain home,
さびしさはいつともわかぬ山里に
tousling the pampas grass the autumn wind blows 尾花みだれて秋かぜぞふく
Silently the autumn wind comes
しづかにきたる秋風の
Rising from the western sea;
西の海より吹き起り
Dancing, lifting, romping white clouds fly,
舞ひたちさわぐ白雲の
Their course is clear to see.
飛びて行くへも見ゆるかな
The humans who populate the poem retreat and are absorbed into the
landscape. 58 Even the high priests are no more than autumn leaves, reversing the simile
of Shelley’s ode, and depersonifying the humans instead of personifying the leaves:
As the Brahmans who teach the Way
道を伝ふる婆羅門の
57
Keene writes that Tōson’s poem “by no means matches Shelley’s in scale, richness of
imagination, or intensity, but it is nevertheless of great importance to modern Japanese
literature, both historically and intrinsically.” Keene, 205-206.
58
This observation is similar to Karatani’s characterization of Kunikida Doppo’s (国木田
独歩, 1871-1908) nearly contemporary novel Unforgettable People (忘れえぬ人々:
Wasureenu hitobito, 1898): “the man on Doppo’s island is not so much a ‘person’ as a
‘landscape’”; and Karatani quotes the narrator who remembers “these people standing
in the midst of scenes in which I discovered them.” Karatani, 24.
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Scatter to the east and west,
西に東に散るごとく
Wafted on the autumn wind
吹き漂蕩す秋風に
The leaves in the trees flutter away.
飄り行く木の葉かな
Where Shelley allows the wind to “Drive my dead thoughts over the universe, / Like
wither’d leaves to quicken a new birth,” Tōson’s poem finds not rebirth but futility in the
transience of human lives. His attitude towards autumn as a wistful sign of
impermanence is a well-worn topos in Japanese poetry. Thus, while Shelley’s speaker
hears a prophecy of rebirth in the wind and is able to ask, “If Winter comes, can Spring
be far behind?” Tōson’s speaker sees a significance beyond seasonal cycles.
Though men may wave their swords about,
人は利剣を振へども
Their waving must come to an end;
げにかぞふればかぎりあり
And tongues that curse the present age
舌は時世をのゝしるも
Have voices that are soon snuffed out.
声はたちまち滅ぶめり
High and fierce, O autumn wind,
高くも烈し野も山も
You confound the breath of hills and fields;
息吹まどはす秋風よ
Until you wither and dry the world out,
世をかれがれとなすまでは
There shall be no end to your blowing.
吹きも休むべきけはひなし
How lonesome is the autumn sun
あゝうらさびし天地の
Within the bowl of heaven and earth;
壺の中なる秋の日や
Who knows where the wind is headed,
落葉と共に飄る
Flying with the fallen leaves?
風の行衛を誰か知る
Where Shelley’s ode reminds the reader here of seasonal cycles and their comforting
analogical power, Tōson sounds more like the Shelley of “Ozymandias,” in which, apart
from the statue’s legs and inscription, “Nothing beside remains. Round the decay / Of
76
that colossal wreck, boundless and bare / The lone and level sands stretch far away.” 59
Is Tōson merely combining the two Shelley poems into one, then? Shelley’s “king of
kings” is forgotten because of the inevitable downfall of his dynasty; the irony of
Ozymandias’s inscription is arguably the primary greatness of Shelley’s poem. Tōson’s
speaker, on the other hand, ascribes agency to the entropic powers of the autumn wind,
described variously as “silent,” “chill,” “clever,” and “high and fierce.” Nature, embodied
in the autumn wind, has become an animated figure, and the humans are absorbed into
it. The allusions and personifications that populate the poem and culturally anchor the
poem provide no camaraderie to the speaker, 60 though they surely engage readers. The
same attitude towards the bleak workings of nature comes back in “Pillow of Grass,”
though in that case the buffeting of the subject by wind, sun, and hail bring him “joy”
when he is “rattled and feverish.”
“Pillow of Grass”: Metonymic Metabolism of Figure and Landscape
“Pillow of Grass” was first published in the February 1897 issue of Literary
World. It is a poem about a solitary traveler who overcomes his sorrow and loneliness
by finding restored hope in the first signs of spring to arrive in a forlorn landscape. The
titular pillow of grass is a conventional poetic way to describe a traveler’s lot. The
poem’s thirty quatrains then go on to repeat certain terms and images frequently, the
first and most obvious being the theme of the lonely seashore. Seki argues that the
59
60
Lines 12-14.
Compare Doi Bansui’s poems in chapter two, in which the mediation of other texts
provides solace.
77
nature imagery in “Pillow of Grass,” as in his other poems, is not really the concrete
flora, fauna, and landscape of the northeast, but just a “general nature” (自然一般:
shizen ippan). The late arrival of spring there is not a description of reality, according to
Seki, but rather a way of symbolizing Tōson’s recovery of his own inner youth. The
poem is a poem about ideas, and nature provides metaphors for the human condition. 61
Seki acknowledges Tōson’s innovative use of desolate sand and seashore, but he notes
that these are layered on more traditional images of warblers, snow, and the scent of
plum blossoms, all prominent in the Kokinshū. 62
What makes Tōson’s use of conventional imagery innovative in this poem,
however, is the metonymic progression that pulls readers along from one image to the
next. The most fundamental metonymy, which underwrites the entire poem, is that of
the journey and the sojourner. The melancholy speaker yearns to find a path—and
himself—in a forlorn landscape. As the respective associations of figure and landscape
then ramify in their respective directions, the metonymic associations between them
attenuate and come to be metaphors. But it is the metonymy more than the metaphor,
the cascading imagery more than the transformation of images, that both holds the
poem together structurally (for it is not otherwise very unified) and makes it emotionally
effective. For the poetic speaker does not himself move through the space. We might
even say the metonymy, like a stream of consciousness, makes the poem seem more
authentic, or at least more insightful.
61
Seki Ryōichi, Kōshō to shiron: Shimazaki Tōson (Historical investigation and essay:
Shimazaki Tōson) (Kyōiku shuppan sentā, 1984), 420-421.
62
Seki, 421. Seki gives some credit to Kitamura Tōkoku’s poetry, as well.
78
Beginning with the declaration that he is alien to his surroundings (specifically,
that he is not a plover, but by extension, not at home on a barren seashore), the speaker
proceeds to weave the natural phenomena around him into metaphors of his interior
struggles. The clunky contrastive analogy of the traveler to a plover soon gives way to
the waves of emotion:
The waves at dusk are dark, and the plover cries;
夕波くらく啼く千鳥
And though I am not a plover,
われは千鳥にあらねども
If I flapped the wings of my heart
心の羽をうちふりて
I might fly that lonely way.
さみしきかたに飛べるかな
The entirety of this young heart, forlorn,
若き心の一筋に
Given to inconsolable lament,
なぐさめもなくなげきわび
Frozen into ice inside my breast,
胸の氷のむすぼれて
Has melted and turned to tears.
とけて涙となりにけり
As the white waves that wash over the reeds
蘆葉を洗ふ白波の
Stream and jet from among the rocks,
流れて巌を出づるごと
My thoughts spill over this pillow of grass;
思ひあまりて草枕
How many pillows have there now been?
まくらのかずの今いくつ
The implied rhythm of the waves is echoed by the flapping wings of the speaker’s heart.
The waves also alternate with tears, both of which spill onto his pillow. The continued
deferral of one image to the next is enhanced by the liquid nature of those images,
emphasizing a capacity to overflow. Yet immediately the metonymy moves on—
evaporates the water—and associates the traveler’s pillow of grass with the backwoods.
How sorrowful is the plight of a man
かなしいかなや人の身の
Desperately seeking abiding comfort,
なきなぐさめを尋ね侘び
Cutting through the pathless woods,
道なき森に分け入りて
79
Seeking a path that is not there.
などなき道をもとむらん
How full of worry am I, too;
われもそれかやうれひかや
In the backwoods, hills, or valley shadows,
野末に山に谷蔭に
At dawn or dusk, no good in looking,
見るよしもなき朝夕の
For the light is gone and autumn over.
光もなくて秋暮れぬ
In contrast to the unemotional description of scenery in “Rambling Through the
Deep Woods,” the speaker in “Pillow of Grass” actively seeks a path in the transcendent
landscape, and thus a transcendent purpose:
With no path now for me to follow,
道なき今の身なればか
Longing for the pathless fields,
われは道なき野を慕ひ
Distracted by cares, I have come wandering
思ひ乱れてみちのくの
To the Miyagi Plains of the north country.
宮城野にまで迷ひきぬ
Miyagi Plains, my heart’s shelter!
心の宿の宮城野よ
When I am rattled and feverish,
乱れて熱き吾身には
The sun’s weak rays, the withered grasses,
日影も薄く草枯れて
Even the wild fields have brought me joy.
荒れたる野こそうれしけれ
Alone my melancholy ears
ひとりさみしき吾耳は
Hear a lute when the north wind blows;
吹く北風を琴と聴き
In depths of sadness my eyes
悲み深き吾目には
See flowers in the colorless rocks.
色彩なき石も花と見き
Ah, this pang of loneliness
あゝ孤独の悲痛を
Felt by a man of profound taste;
味ひ知れる人ならで
To whom might I relate the scene
誰にかたらん冬の日の
Of the bleak field this winter’s day?
かくもわびしき野のけしき
He is alone in his transcendence, wondering to whom he can relate the scene, as if
famous poetic predecessors like Saigyō and Bashō had not been there before him. The
80
paradox here is that traveling poets had long relied on the unproblematic consumption
of their works, secondary though they may have been. We begin to sense the breakdown
of the ability of the “man of profound taste” to relate his experience. But it is not
because his descriptions of nature fail; rather, it is because the feelings that brought him
here in the first place overflow in unexpected ways upon his arrival. The weak rays of
the sun and the withered grasses can bring him joy. In his ears, the wind sounds like a
lute; through his tears, flowers seem to sprout from the rocks. The effect is markedly
different from the experience of the traveler in the unknown, pathless woods of
“Rambling Through the Deep Woods,” for whom “Each step tramples an orchid flower, /
Wild plum petals land on my sleeves, / And mountain ivy wraps around my hems.” 63
The traveler in “Pillow of Grass,” however, underlines his loneliness by repeating that he
is treading where there is no path, and he only tramples the withered grasses:
Unable to bear the loneliness of the journey,
野のさみしさに堪へかねて
Treading a path where no path is there,
霜と霜との枯草の
On the frost on the withered grasses;
道なき道をふみわけて
When I arrive, how cold the winter seas.
きたれば寒し冬の海
And unlike the traveler in the deep woods, who will be bathed in the warm glow of
sunset, here the traveler watches “As the sun sets and the light dies / On this winter’s
day that freezes tears.” 64 Six stanzas later, as the next quoted passage shows, time has
passed and the traveler’s tears no longer freeze:
At sunset on the lonely rocky shore,
暮はさみしき荒磯の
63
あゆめば蘭の花を踏み／ゆけば楊梅袖に散り／袂にまとふ山
64
涙も凍る冬の日の／ 光もなくて暮れ行けば.
81
の.
I lie in sand stained by the tide
潮を染めし砂に伏し
And gaze towards where the sun goes down,
日の入るかたをながむれど
But all that springs to view are my tears.
湧きくるものは涙のみ
Today’s readers of the above stanza may think of Ishikawa Takuboku’s unrelieved
seaside tears in so many tanka from A Handful of Sand (Ichiaku no suna, 1910). 65 But
unlike Takuboku’s crying soul, Tōson’s speaker does indeed find his heart’s shelter on
the bleak seashore. He finds solace in a bush warbler’s song, an utterly conventional
sign that spring has arrived. The bird seems to cause a cascade of spring and to release a
wave of enthusiasm:
65
To my lonely ears, accustomed
遠く湧きくる海の音
To the faraway sound of the surging sea,
慣れてさみしき吾耳に
An indistinct call issues
怪しやもるゝものの音は
From a bird of the field, still so young.
まだうらわかき野路の鳥
Oh, how rare that melody!
嗚呼めづらしのしらべぞと
To what does it address its song?
声のゆくへをたづぬれば
Its green wings are still weak—
緑の羽もまだ弱き
Is it the first bush warbler of spring?
それも初音か鶯の
Spring has come! Spring! It is spring!
春きにけらし春よ春
Though the white snow still piles high,
まだ白雪の積れども
The seedlings sprout into green,
若菜の萌えて色青き
As one example, the very first poem:
On the white sand of a little island’s rocky
東海の小島の磯の白砂に
shore in the eastern sea,
drenched with tears,
われ泣きぬれて
I toy with a crab
蟹とたはむる
(My translation follows Ishikawa’s own idiosyncratic lineation.) Ishikawa Takuboku,
Takuboku kashū (Takuboku tanka collection) (Tokyo: Iwanami shoten, 1993), 18.
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And my mood skims over the sand.
こゝちこそすれ砂の上に
Spring has come! Spring! It is spring
春きにけらし春よ春
Happily delivered on the winds;
うれしや風に送られて
It seems that spring has really come—
きたるらしとや思へばか
The scent of plums perfumes the shore.
梅が香ぞする海の辺に
I climb a giant rock on the shore
磯辺に高き大巌の
And from up high I look around;
うへにのぼりてながむれば
In the dawn clouds spring has arrived,
春やきぬらん東雲の
And far away the sound of the tide at daybreak.
潮の音遠き朝ぼらけ
The poetic speaker has thus been called away from civilization by the plover, and
then called back to civilization by the bush warbler, a bird that, in conventional literary
depictions, would spend the off-season in the hills—the wild—and then visit the valleys
—society, or proximate to it—at the beginning of spring. His roundabout route has
metabolized his melancholy, allowing him to return to society and his fullness as a
human being. Throughout, the wilderness of nature reverberates with conventional
connotations, each metonymically connected to the others in an intertextual and
intersubjective web. These conventional connotations, these secondary natures, are the
intersubjective source of his rehabilitation.
“Rambling Through the Deep Woods”: Melting into Landscape
“Rambling Through the Deep Woods” is a hybrid. The form of the poem is
unique, with a narrating speaker entering the deep woods, interspersed with the
alternating chants of a mountain spirit and a tree spirit. First the narrator paints a
transcendental picture. Then that narrator heeds the invitation of the two spirit voices
83
and explores the forest. The narrator’s voice does not explicitly locate himself in the
woods until, near the end of the poem, he sighs, “Ah, here I am alone at sunset.” 66 It is
clear that there must be some person there who sees, hears, steps, and experiences
solitude—human solitude, but not loneliness, surrounded as he is by sentient,
sympathetic nature—while rambling in the woods, but that person only reveals himself
slowly, both in terms of the language and in the action of the poem. The emotions of the
explorer, then, are also held in check during the painting of the landscape. At the
conclusion of the poem, we arrive at the wanderer’s emotional repose, which, like
everything he sees, is dyed by the sunset.
In the first of the four narrative passages, there is only detached description; the
presence of anything like a person is only hinted at through the personification of winter
as a hatchet-wielding carpenter and spring as painting leaves with a green brush. It
proceeds with a catalogue of evergreen trees, which the poet Kanbara Ariake (蒲原有明,
1875-1952) thinks could have come straight from Sei Shōnagon’s (清少納言, born ca.
965) Pillow Book (枕草子: Makura no sōshi, ca. 1000). 67 Indeed, the names of the trees
—red camphor, cypress, cedar, five-needled pine, chinquapin, white evergreen oak,
chinaberry, and maple—are conspicuously similar. That they could populate a poem set
in the northeast as easily as they could a commentary written in the capital suggests an
66
67
あゝゆふまぐれわれひとり.
Kanbara Ariake, “Kaisetsu” (Explanatory notes), in Tōson zenshishū (Tōson’s
complete poetry) (Tokyo: Shinchōsha, 1951); cited in Mizumoto Seiichirō, Shimazaki
Tōson kenkyū: Shi no sekai (Shimazaki Tōson studies: The world of poetry) (Tokyo:
Kindai bungeisha, 2010), 155.
84
idealized, not specific, landscape. Like Sei Shōnagon, who almost certainly never set
foot in a forest and whose knowledge of trees was for their domestic uses and poetic
associations, Tōson’s poetic traveler has not explicitly arrived in this forest at the end of
winter when the evergreens are at their most conspicuous:
When the echo of the carpenter’s
力を刻む木匠の
Life-stealing hatchet dies away,
うちふる
And the chisel that carves up spring’s grasses
春の草花彫刻の
And flowers has ceased ringing,
鑿の韻もとゞめじな
Of the many-colored spring leaves
いろさまざまの春の葉に
Not one green brushstroke remains;
青一筆の痕もなく
The red camphor tree of a thousand branches
千枝にわかるゝ赤樟も
Is in its natural state,
おのづからなるすがたのみ
The cypress is wild, the cedar straight,
檜は荒し杉直し
The five-needled pine is black, and the chinquapin
五葉は黒し椎の木の
Branches cross with the white evergreen oak,
技をまじゆる白樫や
The chinaberry stalks fan out,
樗は茎をよこたえて
And the gentle young maple
枝と枝とにもゆる火の
Has a flame on every twig.
なかにやさしき若楓
のあとを絶え
Between the first and second narrative passages of “Rambling Through the Deep
Woods,” the mountain spirit and the tree spirit sing of the forest’s secrets and the
coming spring. The tree spirit then invites the narrator:
Tree Spirit
木精
Cast aside
ふるきころもを
Those winter robes,
ぬぎすてゝ
And attire yourself
はるのかすみを
In the mists of spring.
まとへかし
Drawn out by the song
なくうぐひすの
85
Of the bush warbler,
ねにいでて
Sing
ふかきはやしに
In the deep woods.
うたへかし
Each of the two song-like exchanges that follow, as well, ends with the tree spirit’s
pressing the traveler on. It is worth noting that the rhythms of these spirit voices are
exaggerated by the line breaks, and by the almost exclusive use of hiragana to
transcribe their words.
Bury the old
ふるきおちばを
Fallen leaves
やはらかき
In the shade
青葉のかげに
Of the soft green leaves.
葬れよ
Wake up from
ふゆのゆめぢを
Your winter’s dream
さめいでゝ
And come
はるのはやしに
To the spring forest.
きたれかし
................................
Now the sun’s rays
いまひのひかり
And the spring mists,
はるがすみ
Now the clouds during blossom time
いまはなぐもり
And the spring rains.
はるのあめ
Ah, ah, spellbound
あゝあゝはなの
By the flowers’ dew—
つゆに酔ひ
Sing of this
ふかきはやしに
In the deep woods.
うたへかし
The narrator enters this landscape. As in many Japanese and Chinese poems, the
86
omission of a grammatical subject leaves vague who the narrator could be. 68 I have
translated that person as “I,” although I would have preferred a way to express the
action without shutting off possibilities. Unfortunately, the only way to do that would be
to introduce dangling participial clauses. In any case, the traveler is intruding on the
scene by trampling and inspecting its secrets close up.
Each step tramples an orchid flower,
あゆめば蘭の花を踏み
Wild plum petals land on my sleeves,
ゆけば楊梅袖に散り
And mountain ivy wraps around my hems;
袂にまとふ山
Turning over an ivy leaf, I find
の
のうら葉をかへしては
In the shade of a fern a mountain strawberry
女蘿の蔭のやまいちご
Has dropped its colorful fruit;
色よき実こそ落ちにけれ
Each corner of the hillscape
岡やまつゞき隅々も
Slopes gently into the distance,
いとなだらかに行き延びて
And through the deep woods of the valley
ふかきはやしの谷あひに
The scent of asters spreads;
乱れてにほふふじばかま
In the valley flowers bloom, in the valley they scatter, 谷に花さき谷にちり
And unknown to men they decay;
人にしられず朽つるめり
As I approach from the dark ravine I find
せまりて暗き峡より
The trees of the deep mountains open into a clearing, やゝひらけたる深山木の
68
Compare, for example, Li Bai’s (李白, 701-62) famous quatrain “Sitting Alone on
Jingting Hill” (獨坐敬亭山: Du zuo Jingting shan):
A flock of birds flies high away,
鳥高飛盡
A stray cloud goes off alone;
孤雲獨去閑
Gazing at each other, neither tires—
相看兩不厭
There is only Jingting Hill.
只有敬亭山
Once the many birds and the one cloud have disappeared, only the solitary hill-sitter
implied in the title is left to exchange gazes with the hill. But then the poem ends by
erasing that sitting and gazing person, too—unless we translate 只有 (zhi you) as “[I]
only have.”
87
And spring shows forth in the tree branches.
春は小枝のたゝずまひ
Scraping past the dense leaf-tips
しげりて広き熊笹の
Of overgrown wide-leaf bamboo grass,
葉末をふかくかきわけて
I come to the far edge of the valley to look;
谷のかなたにきて見れば
Say, waterfall, where do you lead?
いづくに行くか滝川よ
A brocade of white with a lonely voice
声もさびしや白糸の
Falls on the green rocks;
青き巌に流れ落ち
At least for the young monkeys,
若き猿のためにだに
The sound never lets up.
音をとゞむる時ぞなき
Curiosity leads the narrator on through pathless woods whose beauties do not
exist for the sake of humans. Instead, they seem to exist for the pleasure of the
disembodied mountain and tree spirits. Emotion plays no part in the narrator’s journey,
until, as we shall see, he physically comes to rest and allows the scene to encompass
him.
“Rambling Through the Deep Woods” thus begins with the kind of naming
function that goes back to Sei Shōnagon, but we might say that by the end of the poem
Tōson has traded in classical Japanese echoes for modern English shadows in his
description of the clouds. Specifically, we see why John Ruskin’s (1819-1900) famous
discussion of clouds in his Modern Painters is frequently cited as a significant influence
on Tōson’s nature writing. 69 While the impact may be more apparent in the prose
descriptions of the Chikuma River Sketches, it would be difficult to imagine that an
influence as deep as Ruskin’s had lain dormant during Tōson’s poetry career. Takahashi
stresses this point, as well: “Although the influence of Modern Painters [on Tōson] is
typically said to begin with ‘Clouds’ from Fallen Plum Blossoms, it can already be seen
69
See for example, Takahashi, 225-26.
88
in Seedlings, in which he adopts a realistic method [リアリズムの方法: riarizumu no
hōhō] that undercuts the poetry, a forced clumsiness that imparts a sense of youthful
tension to Seedlings.” 70 That realism, which Takahashi calls forced clumsiness, is also a
shift towards a focus on affect, and it accompanies the surfacing of the experiencing
subject in the final section of the poem. The traveler who has maintained a stance of
detached observation now is flooded with color:
70
I gaze at the clouds and count on my fingers
ゆびをりくればいつたびも
How many times they have changed colors;
かはれる雲をながむるに
White becomes yellow, and now I am unsure
白きは黄なりなにをかも
In what color I would dip my brush;
もつ筆にせむ色彩の
Before long everything wears a pale brown tint,
いつしか淡く茶を帯びて
And now the clouds have turned to crimson;
雲くれなゐとかはりけり
Ah, here I am alone at sunset,
あゝゆふまぐれわれひとり
The woods I track open up to me,
たどる林もひらけきて
And in the sheer silence on the banks
いと静かなる湖の
Of the lake azaleas bloom;
岸辺にさける花躑躅
As the drifting clouds pass I see their shadows,
うき雲ゆけばかげ見えて
While the spring sun sinks into the water
水に沈める春の日や
And dyes it a shade of crimson;
それ紅の色染めて
The clouds now are bathed in violet,
雲紫となりぬれば
And the waterfowl’s shadows are red;
かげさへあかき水鳥の
The lake in spring, the grass on the banks,
春のみづうみ岸の草
Takahashi Masako, 225. Meanwhile, in 1896 Tōson himself translated part of
Ruskin’s essay “Of Classical Landscape” from Modern Painters, vol. 3 (in The Complete
Works of John Ruskin, ed. Cook and Wedderburn [London, 1904], 5:221-247). See
“Ōshū kodai no sansuiga o ronzu” (On European classical landscape painting), Tōhoku
bungaku (Northeast literature), no. 19 (1896); reprinted in a “translated works” section
of Shimazaki Tōson zenshū (Shimazaki Toson’s complete works), vol. 1 (Tokyo:
Shinchōsha, 1950). Naff notes that Tōson “gave special attention during his first
months at Sendai to Ruskin’s Modern Painters and English translations of Goethe
[1749-1832] and Heine [1797-1856]” (Naff, 155).
89
The deep woods, and the azalea blossoms,
深き林や花つゝじ
Even the solitary body of this lost man,
迷ふひとりのわがみだに
In deep purples and crimsons
深紫の紅の
All are cast by the sunset.
彩にうつろふ夕まぐれ
Where “Pillow of Grass” ends with an energetic new dawn and a new season, both
literally and metaphorically, “Rambling Through the Deep Woods” ends in repose at
dusk. As Mizumoto Seiichirō says, the solitary traveler “melts into the scene” (その光景
に溶けこみ: sono kōkei ni tokekomi).71 Sasabuchi calls this poem an example of the
kind of “pantheistic vision of nature” (汎神論的自然観: hanshinronteki shizen-kan) that
Tōson will display later in Fallen Plum Blossoms. 72 The poetic speaker has succeeded, if
perhaps only temporarily, in following Schiller’s advice for the moral individual,
allowing nature to surround him “like a lovely idyll,” and rekindling the “flame of the
ideal.” He, with Schiller, seeks to undiscover landscape as landscape and to melt into it,
relinquishing his position in relation to it.
In that bath of evening sunlight, the poem ends more bountifully than if it had
retreated behind a narrative framework of recollection from afar. Compare the final
stanza of Wordsworth’s “I wandered lonely as a cloud,” in which the vision of daffodils
beside a bay is a source of emotional strength long after the poetic speaker has left the
scene:
For oft when on my couch I lie
In vacant or in pensive mood,
71
72
Mizumoto, 159-60.
Sasabuchi, “Bungakkai” to sono jidai (“Literary world” and its age), vol. 2 (Tokyo:
Meiji shoin, 1960), 1169.
90
They flash upon that inward eye
Which is the bliss of solitude,
And then my heart with pleasure fills,
And dances with the Daffodils. 73
Wordsworth’s poem stresses the poignancy and emotional sustenance of a nature that
the poetic speaker can keep with him anywhere. He has, in effect, surrounded himself
in his own vision of nature, satisfying himself with what Schiller would call nature’s
happiness, not its completeness. Or, to apply Kroeber’s more perspicacious description
of the poetic subject’s imaginative incorporation into the plenitude of a paradoxically
limited ecosystemic whole, Wordsworth’s poetic speaker is able to enjoy the iterative
bounties that conjure temporal and spatial wholeness even from his couch at home.
That limitedness is portable for Wordsworth’s poem, but the drawn out process of
“Rambling Through the Deep Woods” leaves us with the speaker in the woods at sunset.
The wholeness is more profound because it is open-ended.
To help see how distinctive “Rambling Through the Deep Woods” is, we can
contrast it with Masaoka Shiki’s (1867-1902) thematically and structurally similar
“Flood” (洪水: Kōzui), a relatively obscure shintaishi that was published five months
earlier in The Japanese People (日本人: Nihonjin). Shiki’s poem has a cast of three
kami—deities of a river, forest, and rain—who bewail the incursions of human industry
into their domains. The poem begins thus:
Where the cedars were deep and the water was clear, 杉深く水清きところ、
73
Two kami met.
二人の神はいであひぬ。
The thousand-year-old tree was half decayed,
千歳の老木半ば朽ち、
Composed in 1804 and first published in Poems in Two Volumes, 1807.
91
And above its roots where the steamy moss lay deep, 苔厚く蒸す根の上に
The kami of the woods sat himself down.
“I have not seen you in so very long.
腰打ちかけし森の神
「絶えて久しく
はざりき。
How have you gotten along lately?
此頃いかにおはすらん。
The body that lives in the mountains is too rough
山に住む身は世に疎く、
For the world, even when one tries to open up to it.
開けゆくてふ有様も、
Except for the sound of the train that passes by the
はるかに見ゆる高殿と
Foot of the mountain, and the castles visible far off,
麓を過ぐる汽車の音の
I see or hear nothing of it.
外には見聞く事もなし。
Along the great river once again
大川づたひ君はまた
You pass near the city,
都に近く往来して
And are you not full of joy?
樂き事ぞ多からん。
Cheer me up in my idleness
もの珍しき世語りに
With rare tales of the world.”
わがつれづれを慰めよ。」
Leaning against a boulder
落ちくる水の迸る
Where water gushed out,
巌に半ば身を寄せて、
The kami of the river smiled a bit
少しほほゑむ川の神
And wrung his hands, saying, “Nothing to tell. 手を打ふりて「さないひそ。
In the city where so many folks live
人多く住む都邊に
There is nothing interesting going on.
何面白き事あらん。
The steamboats churn up the waves,
汽船は波をひるがへし、
And soot lies upon the water’s surface.
水の面に煤満てり。
If without thinking I should step where
思はぬ岸に新しき
A new stream has been built near the riverbank,
小川出来ぬと蹈み入れば、
How terrifying that would be! For here, too,
あら恐しや。こゝも亦
Factories depend on the flow
流をたのむ工場の
To power their great big waterwheels,
大水車しかけつゝ、
And I would get caught in the middle of a whirlpool
渦巻く中へわれらをば
And swallowed up inside it.
落し入れんとするものぞ。
From time to time I play there,
たまたまそこに遊ぶとも、
But when I see the shadows of the chimneys
煙突の影、鐵橋の
92
And the shadows the steel bridges cast,
That awful feeling returns.”
影のうつるを見る時は
引つ返し來るうたてさよ。」
Shiki goes on to introduce the kami of the rain, and they discuss the encroachments of
human civilization into their realms. The poem suggests that the kami had once
overseen what Giffords calls the pejorative, “comfortably complacent” pastoral
harmony, but in its specific charges against chimney soot and waterwheel eddies, it also
reads as an early environmentalist protest against industry. It is, further, a protest
lodged from the point of view not of humans but of kami, and this limits its
environmentalism to an ecology that excludes humans. In Toson’s poem, however, the
poetic process of interacting with landscape undermines the binary separation of subject
and object, lending it a deeper ecological potential.
Postlude: Towards Chikuma River
The prevailing narrative is that Seedlings, which represented intoxication by love,
gave way to the more somber descriptive poems and prose of Fallen Plum Blossoms. 74
These judgments only serve to reinforce the narrative of Tōson’s broader and ineluctable
shift from love lyrics towards naturalist prose. Further, they contribute to a portrayal of
love poetry as the province of the young and lustful. Tōson himself participated in this
revisionist history as he looked back on his poetry.
74
Takahashi Masako notes that the reputation of Seedlings is as a commentary on a
“world of light and dark,” in which “paeans to love are layered with the fear of the
sensual.” Takahashi, 218. Donald Keene, comparing the first and last collection, writes
that Fallen Plum Blossoms “represented a further step away from the lyricism that had
brought [Tōson] fame only three years before,” and that certain lines of “Song of Travel
on the Chikuma River” strike a “note of acceptance, so foreign to the turbulent
romanticism of Tōson’s early poetry.” Keene, Dawn to the West, 213-14.
93
One final oddity in Tōson’s look back on his poetry is “Refined Language and
Poetry” (雅言と詩歌: Gagen to shiika), which appeared at the end of Fallen Plum
Blossoms in 1901. Naff calls this Tōson’s “final and most sophisticated essay on the
problem of Japanese poetry and poetic technique,” with “a maturity not present before
Komoro.” 75 But while its rational argument displays a familiarity both with prosody and
with a range of figures from Li Bai to Goethe, it is also less applicable to our study
precisely because it mystifies less. It is, moreover, imbued with skepticism about
Japanese poetic and linguistic potential, to the point where it is hard to believe the same
person not only chose to end his final collection of new poems with it, but also went on
to write a much more sanguine preface to the collected edition of his poetry three years
later.
The essay carefully enumerates six failures of Japanese poetry, three of which are
limitations of prosody (韻律: inritsu) and three of which are limitations of expression
(表情: hyōjō). The prosodic limitations boil down to the limited number of vowels and
accents and the lack of individuation of words. 76 The limitations of expression,
constituting a more severe charge, are that “the words lack precise meanings” (語義の精
密ならざる: gogi no seimitsu narazaru), “the vocabulary is impoverished” (語彙に豐か
ならざる: goi ni yutaka narazaru), and “the range of refined language is cramped” (雅
75
76
Naff, 215.
Shimazaki Tōson, “Gagen to shiika” (Refined language and poetry), in Shimazaki
Tōson zenshū (Complete works of Shimazaki Tōson), vol. 2 (Tokyo: Shinchōsha, 1949),
384-387.
94
言の音域広闊ならざる: gagen no on’iki kōkatsu narazaru). 77 It is hardly surprising
that, having leveled such charges, Tōson then gave up writing poetry and fled instead
into the arms of Naturalist prose.
Another way of looking at this is to say that Tōson stopped seeing ideals in nature
through the prisms of allusive “secondary natures” that invested natural phenomena
with conventional meanings. Indeed, the conventional meanings had long since become
stale. Yet what makes Tōson’s Romantic nature poems enduringly distinctive is the way
he summoned multiple sources of allusive natures to help him explore the boundaries
between the real and the ideal. Tōson’s late friend and mentor Kitamura Tōkoku had
written, in his influential essay “World-Weary Poets and Women” (厭世詩家と女性:
Ensei shika to josei, 1892), that the (implicitly male) poet flees his innocent “ideal
world” (想世界: sōsekai) in order to seek love in the degraded “real world” (実世界:
jissekai). 78 This essay certainly would have haunted Tōson later when he tried to quell
his forbidden love first for a student and then for his own niece. We may even choose to
see in Tōson’s descriptive nature poems an attempt to flee from what Satō called the
“metaphysical anguish” over sexual mores. In “Rambling Through the Deep Woods”
and “Pillow of Grass,” rather than fleeing the ideal world to enter the real world for the
sake of love, Tōson’s poetic subjects fly into the embrace of an idealized nature free of
public morality.
77
78
Shimazaki Tōson, “Gagen to shiika,” 387, 390.
Kitamura Tōkoku, “Ensei shika to josei” (World-weary poets and women), Tōkoku
zenshū (Tōkoku’s complete works), vol. 1 (Tokyo: Iwanami shoten, 1950), 254-264.
95
Thus, Tōson’s earlier descriptive nature poems, such as those examined here,
thrive especially in the way they mine the secondary nature to cast about for moral
meaning, for happiness or completeness. Kamei Hideo has pointed to Tōson’s literary
participation in the “idea that the description of natural scenes could restore and elevate
one’s humanity,” a “prominent theme in this era.” 79 Describing Tōson’s writing process
for his later Chikuma River Sketches, Kamei posits a process of “visual
intentionality” (視向性: shikōsei), by which “Tōson consciously chose a method of
description based on the idea of sharing nature with some other person.” 80 In Broken
Commandment, it is in the “descriptions of nature that cannot be shared with anyone
else” when the protagonist “lacks any reciprocal relationship with other people that he
first encounters. . .‘solitary nature,’” and this is when “he is in danger of being bewitched
by a transcendental nature.” 81 But what of the solitary subjects of “Pillow of Grass” and
“Rambling Through the Deep Woods”? Do these figures face solitary nature? Do the
implied readers not share these scenes? The poems’ secondary natures can be
intersubjectively experienced through shared sensibilities in the literary ecosystem.
Tōson finds completeness there by metabolizing his alienated individuality in the
transcendental poetic nature.
79
Kamei, 233.
80
Kamei, 232. See also Michael Bourdaghs’s explanation of Kamei’s use of “visual
intentionality” in his Editor’s Introduction to the translated text, in Kamei, xv-xvi.
81
Kamei, 233-34.
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CHAPTER TWO: DOI BANSUI’S REFLECTION OF AN ABSENT IDEAL
E’en gods must yield—religions take their turn:
’Twas Jove’s—’tis Mahomet’s; and other creeds
Will rise with other years, till man shall learn
Vainly his incense soars, his victim bleeds;
Poor child of Doubt and Death, whose hope is built on reeds.
—George Gordon Byron 1
Those ideals are vanished
That once swelled my intemperate heart.
—Friedrich Schiller 2
Wandering in a vale of tears,
涙の谷にさまよひて
Roused from a sleepless night’s dream;
ねぬ夜の夢に驚けば
Here weeps Byron over blood,
こゝにバイロン血に泣きて
Whence comes the “child of Doubt and Death”;
「死と疑の子」となのり
And here does Schiller raise his voice
こゝにシルレル聲あげて
To cry, “Those ideals are vanished!”
「理想は消ゆ」と叫ぶなり。
—Doi Bansui3
Doi Bansui (土井晩翠, 1871–1952) wrote both poems that emphasize the mystifying role
of the poet, and poems that express the poignancy of no longer viable mystifications. He
sang expansively of a sublime natural order, but also of the loss of that order. In that
sense, Bansui may be among the most Romantic of the Meiji-era (1868-1912) poets. Yet
he also incorporated into his poems a wealth of allusions to other poets’ lost
1
Childe Harold’s Pilgrimage, canto 2, stanza 3, lines 5-9.
2
Die Ideale sind zerronnen, / Die einst das trunkne Herz geschwellt. “Die Ideale” (The
ideals), stanza 2, lines 3-4, in Gedichte von Friedrich von Schiller (Poems of Friedrich
Schiller) (Stuttgart: J. G. Cotta, 1859), 209.
3
“Yūbe no omoi” (Evening thoughts), stanza 8, lines 1-6.
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mystifications. He found the deposed gods and “vanished ideals” of European Romantic
poets a particularly rich source of pathos. The invocation of other poets is un-Romantic
in the sense that it downplays the putative immediacy of Bansui’s own subjective
experience. Bansui’s poetry, however, makes no claim to be direct observation or
unmediated emotion. It is thoroughly idealistic and builds on allusions to history and
other great poets as the basis for intersubjective experience. His vision of poetry is not
simply to cobble together the best of the past from its diverse sources; instead, his work
speaks passionately to the agglomerative role of each new poet in illuminating the
human condition. Poems contain the traces of earlier poets’ insights, and these insights
—not love, not deities that are themselves to be discovered only in poetic creations—are
the sole abiding tapestry of humanity’s ideals.
Bansui was careful to incorporate the old even as he worked towards a new
idiom. His use of allusion might be thought of as expanding the traditional Japanese
poetic practice of “drawing on a base poem” (本歌取り: honkadori). 4 In broadening his
range of poetic sources, he offered an expanded vision of what it meant to be literate in
modern Japanese poetry. References to Chinese classics, which educated Japanese of
Bansui’s generation would have recognized, are mixed with allusions to Lucretius (ca. 94
to ca. 55 BCE), John Milton (1608-74), Friedrich Schiller (1759-1805), Percy Bysshe
Shelley (1792-1822), and Victor Hugo (1802-85). This combination is foreshadowed
4
Honkadori, which Earl Miner translates as “allusive variation” and describes as
“echoing and alluding to older poems. . .in such a way that the older meaning is added
to, or harmonized with, one’s own surface meaning,” became common at the end of the
Heian period (794-1185). Earl Miner, An Introduction to Japanese Court Poetry
(Stanford: Stanford University Press, 1968), 24.
98
even in the title of Bansui’s first collection, Nature Has Feelings (天地有情: Tenchi ujō,
1899), which expresses a Wordsworthian sentiment in Chinese syntax. 5 Further,
Bansui’s citations are often to passages that are themselves full of multiple references.
Indeed, Bansui demonstrates that a conscientious reader or writer cannot dip into
Shelley without immersing oneself in Milton and Lucretius, as well. The polyglot Bansui
draws on sources as diverse as the “heap of broken images” T. S. Eliot will assemble in
The Waste Land a generation later—but with highly regular prosodic and thematic
structure. 6 Like The Waste Land, Nature Has Feelings deserves to be celebrated for its
complex originality, its elevation of ideas over observations, and its ironic recursiveness.
Bansui’s invocation of both Chinese and European canonical predecessors in his
poems, even as he embraces poetic reform, allows him to engage with and update what
we might call “universal” or “eternal” themes in poetry. The highest payoff in reading
Bansui is to read him with Shelley, Schiller, Hugo, and Lucretius: to consider his poems
not as discrete units (nor even his published collections as such) but as intertextual
nodes joining other texts, that is, as maps of reading (and misreading) between
5
Bansui later remarked that words of Chinese origin were an important way to
strengthen the phrasing of his poems, in the same way that Hugo and Petrarch used
Latin elements in their poems. Doi Bansui, “Tenchi ujō no koro” (Around the time of
Nature Has Feelings), interview with Yoshida Seiichi, Kokugo to kokubungaku 11:8
(1934), 147.
6
Although Bansui added endnotes to identify some references in his poems, his
explanations have nowhere near the detail of Eliot’s.
99
languages, voices, times, spaces. 7 In doing so, we enact his ideal—a process, not a
product—of reading poetry.
As the following discussion will show, Bansui’s idealistic, allusive poems
foreground his and other poets’ roles as interpreters of phenomena and ideals, both of
which remain out of reach. In doing so, he encourages readers to triangulate between
text and intertexts, to burrow into the phenomenological uncertainty between and
among poems, to look for what is absent. Bansui’s poems reflect on the mediation of his
own and others’ language in their preoccupation with literal and metaphorical shadows,
reflections, and images—each of which is a partial translation for the pregnant but
fittingly empty term kage (usually written 影). The allusive absences and deferrals in
Bansui’s poetry can, indeed, be summed up in the word kage, a term that, in a selfreferential way, is a shadow of its own meaning. Kage becomes a theme throughout his
poems. As Bansui writes self-referentially about his vision of the idealized poet, his
poems then become kage of other poems, while he becomes a kage of other poets. His
ideal readers, those who would follow the intertextual trail with him, are kage, as well.
Unfortunately, Bansui’s poetry has fallen into the obscurity of the shadows. The
rise of vernacular free verse in the first decade of the twentieth century quickly displaced
the regular twelve-syllable lines of “new-style poetry” (新体詩: shintaishi) that Bansui
had executed to outstanding effect in his early poems. In addition, his poetry both
7
Harold Bloom’s “map of misreading” might seem useful here, but in fact it is limited by
Bloom’s concern with pairs of poets who write in the same language. It assumes,
moreover, that the “anxiety of influence” is a universal psychological condition among
poets. But traditional Japanese poetry does not invite such ascriptions of anxiety. See
Bloom’s The Anxiety of Influence: A Theory of Poetry (New York: Oxford University
Press, 1973) and A Map of Misreading (New York: Oxford University Press, 1975).
100
invokes a traditional canon, including Chinese classics, which was soon to disappear
from the curriculum, and also signals his ambitions to outline and incorporate a
sophisticated Western literary canon. The ideal readers of his poetry, then, no longer
exist; perhaps they never did.
Nature Has Feelings is thus an experiment that engages with the glorious but
flawed ideals of poetry. Indeed, Bansui discovers the utmost poetic poignancy precisely
in the vulnerabilities of idealistic poets. Like Emily Dickinson, he “dwell[s] in Possibility
— / A fairer House than Prose.” This study addresses the possibility of poetry, through
an examination of the poignancy of unachieved ideals. Specifically, through my reading
of Bansui’s key poems on the art, origins, and ideal readings of poetry, I not only hope to
resuscitate his works, but also aim at the broader goal of revising our historical
understanding and readerly expectations of Meiji poetry. In his most famous poem,
“Moon on the Castle Ruins” (荒城の月: Kōjō no tsuki), 8 Bansui asks:
Where now is the light of long ago
春高樓の花の宴
That broke through branches of the ancient pines,
めぐる盃影さして
Twinkling on the wine cups going round
千代の松が枝わけ出でし
Spring’s blossom-viewing banquet at the palace?
むかしの光いまいづこ。
Where now is the light of long ago
秋陣營の霜の色
That glinted on the swords stuck in the ground,
鳴き行く雁の數見せて
8
This poem was not originally part of Nature Has Feelings. Composed in 1898, it was
first published as a song, with music by Taki Rentarō (滝廉太郎, 1879-1903), in a
songbook by the Tokyo School of Music in 1901. It has since become standard to include
in editions of Nature Has Feelings. Kubo Tadao, Matsumura Midori, and Ishimaru
Hisashi, eds., Doi Bansui, Susukida Kyūkin, Kanbara Ariake shū, vol. 18 of Nihon
kindai bungaku taikei (Modern Japanese literature set) (Tokyo: Kadokawa shoten,
1972), 463.
101
Showing the many squawking geese flying over,
植うるつるぎに照りそひし
The color of frost at the fall encampment?
むかしの光今いづこ。
For whom now shines the unchanging light
いま荒城のよはの月
Of the midnight moon on the castle ruins?
變らぬ光たがためぞ
All that remains in the hedge is the vine,
垣に殘るはただかづら
All that sings in the pines is the wind.
松に歌ふはただあらし。
Though heaven’s image does not change,
天上影は變らねど
Does not the figure of the passing ages
榮枯は移る世の姿
Of glory and decay reflect even now?
寫さんとてか今もなほ
Ah, the midnight moon on the castle ruins!
あゝ荒城の夜半の月。
The same light as of long ago shines on the lingering absence of classical court blossomviewing banquets and medieval encampments. But we might ask as well, where is the
light that once shone on Bansui the poet and his ideals? The source of that poetic light,
reflected indirectly off Bansui’s poetry just as the light in the poem reflects off the castle
ruins, the wine cups, and even the luminous moon itself, may be impossible to track to
its source. But the pensive observer—of the castle ruins or of the poem—might yet see
the traces of past poetic grandeur, and content oneself that such a response is itself a
poetic insight.
Doi Bansui’s Background
Doi Bansui was born Tsuchii Rinkichi (土井林吉) in Sendai in 1871. As the son of
a well-to-do merchant, Bansui received a good education. In addition to Chinese
102
classics such as The Romance of the Three Kingdoms, 9 Bansui learned English and
came to admire the poetry of Shelley. He went on to study French, German, Italian,
Latin, and Greek on his own. He first used the sobriquet “Bansui” (晩翠: late green) in
1893, when one of his poems appeared in a student literary journal of the Second Higher
School in his hometown of Sendai. 10 Late in his career, Bansui specified that he
preferred the alternate pronunciation “Doi” for the characters in his surname.11
At Tokyo Imperial University, Bansui studied English literature with the writer
Lafcadio Hearn (1850-1904). He began publishing the poems that would appear in
Nature Has Feelings as early as 1896, while a student of English literature at Tokyo
Imperial University. Nineteen of the forty-one poems that would appear in Nature Has
Feelings were first published in Imperial Literature (帝国文学: Teikoku bungaku), the
literary journal where Bansui was on the editorial staff. Another nine poems were first
published in Reflections Magazine (反省雑誌: Hansei zasshi) in January, June, and
August of 1898. 12 The full collection was published by the leading publisher
9
The Romance of the Three Kingdoms (三国志演義: Sangokushi engi [Ch.: 三国演義:
Sanguo yanyi]) was written in the fourteenth century. It became very popular in Japan
as well, both in the original Chinese and later in vernacular Japanese translations for
wider consumption.
10
Kubo Tadao, “Tenchi ujō ron: Bansui yōshiki no seiritsu o megutte” (On Nature Has
Feelings: Concerning the formation of Bansui’s style), Tōhoku gakuin daigaku ronshū:
Ippan kyōiku, no. 34 (December 1958), 2.
11
Doi Bansui, Ame no furu hi wa tenki ga warui (The weather is bad on rainy days)
(Tokyo: Daiyūkaku, 1934); quoted in Kubo, Doi Bansui, 449.
12
Reflections Magazine was later to become the important Central Review (中央公論:
Chūō kōron).
103
Hakubunkan in April 1899, but only after the intervention of Bansui’s colleague at
Imperial Literature, Takayama Chogyū (高山樗牛, 1871-1902). 13 Chogyū, a graduate of
Sendai’s Second Higher School like Bansui, had written positive unsigned reviews of
Bansui’s poetry both in Imperial Literature and in The Sun (太陽: Taiyō), where he was
also an editor. The collection went through dozens of printings in the first few years,
and, thanks to sustained popularity, had had seventy-four printings by 1923, the year of
the Great Kantō Earthquake. 14
The poems in Nature Has Feelings are all highly regular shintaishi: all the poems
are written in lines of twelve syllables each with a caesura after the seventh, and most
poems contain stanzas of uniform length.15 Within these structures, Bansui sets up
opposing or complementary pairs and thematic sets, executed with considerable
precision. As a rhetorical device, the carefully regulated structure prevents any sense of
overflowing emotion, making it antithetical to Yosano Akiko’s “tangled” (乱れ: midare)
poetry. It also contrasts with Masaoka Shiki’s “sketching from life” (写生: shasei):
Bansui’s poetry makes no claim to be direct observation or unmediated emotion.
13
Chogyū’s intervention to get Nature Has Feelings published is widely cited; Bansui
himself mentions this in Bansui hōdan: nanajūnananen o kataru (A chat with Bansui:
Seventy-seven years) (Sendai: Kahoku shinposha, 1948); quoted in Kubo, Doi Bansui,
448.
14
Kubo Tadao, “Zuisō Tenchi ujō” (Random thoughts on Nature Has Feelings), in Doi
Bansui, Tenchi ujō (Nature has feelings) (Sendai: Sendai bungakukan, 2005), 192. For
further discussion of the reception of Bansui’s work, see also the introductory chapter.
15
This is not to say Bansui never wrote other kinds of poems. From his early years he
also composed waka, and later he published works with much longer lines, though
typically still in units of five and seven syllables.
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Appended to the volume were Bansui’s translations of excerpts from Thomas
Carlyle’s (1795-1881) “The Hero as Poet,” from Shelley’s “Defence of Poetry,” from
George Sand’s (1804-76) Letters of a Traveler (Lettres d’un voyageur), from Ralph
Waldo Emerson’s (1803-82) essay “The Poet,” and from Victor Hugo’s preface to Rays
and Shadows (Les Rayons et les Ombres).
After publishing Nature Has Feelings, Bansui returned to Sendai to teach at the
Second Higher School. While there he published a second volume of poetry, Morning
Bell (暁鐘: Gyōshō, 1901). Although Morning Bell also contained many acclaimed
poems, its popularity did not reach that of Nature Has Feelings, partly because of
having been published in Sendai rather than Tokyo, and also because it was a fancier
product that sold for forty sen instead of twenty-five. 16 Shortly after the publication of
Morning Bell, Bansui embarked on a study trip to England, France, Germany, and Italy.
Unlike many contemporary writers and scholars who were sent to Europe with Japanese
government support, Bansui financed his own journey. He returned in 1904, resumed
his post at the Second Higher School, and taught there until his retirement in 1934.
The fortunes of Romantic poetry in Japan were already beginning to wane when
Bansui returned to Japan. By the middle of the first decade of the twentieth century,
Shimazaki Tōson had become a novelist (out of financial necessity), and Bansui’s style
had lost to the innovations of the Japanese Symbolists. By the end of that decade, free
verse had begun to rise up. Bansui tried his hand at this, too, but without the same
16
Still, the collection went through a dozen reprintings (with some changes to poems
included, publishers, and prices) in a dozen years, and it remains highly regarded. Noda
Utarō, “Doi Bansui shū kaisetsu” (Commentary on Doi Bansui collections), in Kubo, Doi
Bansui, 18-19.
105
success. Instead, his reputation rested on his earliest poetry, his lyrics to countless
school anthems, his dedicated teaching at the Second Higher School in his hometown of
Sendai, and his monumental translations of Homer’s The Iliad and The Odyssey in the
1940s. 17
Since his death in 1952, Bansui’s poetry has been forgotten by more recent
generations of readers, who seem only to remember his classic, “The Moon on the Castle
Ruins,” and to have done so on the basis of its serendipitous pairing with Taki Rentarō’s
simple yet memorable tune. 18
Bansui’s Ideal Poet
In his poems, as well as in his preface and appended translations to Nature Has
Feelings, Bansui addresses the European Romantic concept that the poet has a rare gift
of vision. His preface and author’s note, composed last (we must assume) but set at the
head of the collection, draw on this concept while striking a new note of national
purpose for Bansui’s poetic project:
17
Bansui’s translation of The Iliad was published in 1940, and The Odyssey in 1943,
both by Fuzanbō.
18
It is worth noting that any shintaishi of four-line stanzas would fit the melody, if not
the mood, of Taki’s song. With equal value for each note and no melismas, each melodic
line fills out the 4/4 meter nicely by adding a quarter rest for the caesura after beat 7
and three quarter rests at the end of each line (for a total of four measures per line).
106
“To raise man up to heaven and to bring heaven down to this earth” 19—
that is the ideal of poetry. Poetry is not the delirious utterances of men of
leisure, nor is it the frivolous engraving of insect figures. 20 But I shall not
say anything of the many hundred years’ history of our nation’s poetry.
When you consider that the world of so-called new-style poetry is just a
little more than ten years old, it is only natural now to laugh at its
childishness. Yet we cannot leave it to the future for literary progress to
solve its deficiencies. Poetry is the essence of the people, and there has
never been a great people without its great book of poetry. As there are
high hopes for our country’s future, so must there be high hopes for our
country’s world of poetry.
Tsuchii Rinkichi
Tokyo
Author’s Note
Most of the pieces collected in this volume have been published in
Imperial Literature or Reflections Magazine, and I thank both the
Imperial Literature Society and the Reflections Magazine Company for
permission to reprint them here.
Since old times, poetry has customarily been seen as recreation, as
inconsequential words, as the frivolous engraving of insect figures. Unless
19
This quotation is Bansui’s paraphrasing of the third line from Schiller’s “Die Sänger
der Vorwelt” (The bards of old). I have translated Bansui’s Japanese. The original
German of the first four lines is below:
Sagt, wo sind die Vortrefflichen hin, wo find’ ich die Sänger,
Die mit dem lebenden Wort horchende Völker entzückt,
Die vom Himmel den Gott, zum Himmel den Menschen gesungen,
Und getragen den Geist hoch auf den Flügeln des Lieds?
[Say, where have the splendid ones gone, where might I find the bards
Who with the living word delight the listening peoples,
Who have sung God down from heaven and the people up to heaven,
And carried the spirit high on the wings of song?]
Friedrich Schiller, Gedichte von Friedrich von Schiller, 353.
20
Frivolous engraving of insect figures: 彫虫篆刻の末技: chōchū tenkoku no matsugi.
This phrase is meant to call to mind Yang Xiong (揚雄, 53 BCE-18 CE), a philosopher
who gave up writing rhapsodic verse (賦: fu) because he deemed it as frivolous as
carving insects. See Fusheng Wu, The Poetics of Decadence: Chinese Poetry of the
Southern Dynasties and Late Tang Periods (Albany: State University of New York
Press, 1998), 17.
107
this idea is shattered, true poetry 21 will never arise. I believe that
reforming general readers’ fundamental ideas about poetry is one element
in the present development of our nation’s poetry. Attached are
arguments on poetry and poets by great Western writers. For ease of
reading, these are abridged translations, thus while they do not capture
the spirit or line of reasoning, they should be of some use to today’s world
of poetry. I dare hope they will be read widely and thoroughly.
The most striking characteristic of Bansui’s preface, and what sets it apart from
both his appended translations of Western writers and his own poetry—at least on the
surface—is his desire to foster a new national poetry tradition. He dismisses the long
tradition of waka as inconsequential to his project, but without explanation. That
dismissal is underlined by his referring not to shiika (詩歌), a term that encompasses all
kinds of what we in English would call poetry, but to shi (詩). 22 Shi is a category of
poetry that traditionally meant only Chinese poetry, kanshi, but by Bansui’s time also
included Western poetry and new-style poetry. We can only assume that the waka
tradition is not suited to, or able to develop along with, the modern era. Here the
argument of the poets who composed the epoch-making Selection of New-Style Poems
(Shintaishishō, 1882) is taken for granted: that, in Dean Brink’s words, “the thirty-one
syllables of a waka are only able to grasp a level of thought limited to ‘shooting stars,’”
while “a poet accrues length to poems so as to engage the contemporary world in
extended meditations.” 23 If this is significant for the development of a great nation,
21
True poetry: 真詩 shinshi.
22
Shiika (詩歌): The characters in this compound are shi (comprising kanshi and
shintaishi) and uta/ka (waka/tanka and haiku).
23
Dean Brink, “Intertexts for a National Poetry: The Ideological Origins of
Shintaishi” (Ph.D. dissertation, University of Chicago, 2003), 153.
108
then we must conclude that a nation without extended meditations in poetry is a nation
deficient in philosophical and moral development.
Bansui’s poetry engages in such “extended meditations,” though arguably not
with the “contemporary world,” and certainly not with the world before his own eyes.
Instead, it engages with a timeless, ideal world with no borders. That fact is emphasized
by the mediation of other poems, and the nature depicted therein, from distant times
and places within his own poems. His national poetry tradition must become part of a
global poetry tradition, and his nature must become part of a global nature, instead of
distinguishing a nature unique to Japan.
Bansui must therefore reconcile his nationalistic aim with the universalistic
conceptions of the poets and poetry in the translations appended to Nature Has
Feelings. Nationalism is, in fact, nowhere to be seen on the surface of Bansui’s own
poems in Nature Has Feelings. Rather, the preface adds a nationalistic claim after the
fact of Bansui’s writing the individual poems, almost as if to undo the universalism
implied by statements on poetry by Emerson, Carlyle, and Shelley. It would have been
ironic of Bansui to infuse nationalism into these poems, as many of them so thoroughly
incorporate allusions to Chinese and Western literature. That does not mean it would
have been impossible, however. To assimilate other nations’ cultural treasures in a
nationalistic way would anticipate Okakura Kakuzō’s (岡倉覚三, 1862-1913) The Ideals
of the East, in which Japan is presented as the storehouse of Asia’s treasures. 24 If
storing up cultural treasures is what Bansui is doing on a global scale, then he finds
24
Kakuzo Okakura, The Ideals of the East, With Special Reference to the Art of Japan
(Rutland, VT: C. E. Tuttle, 1903).
109
himself an agent in a process that is just beginning, in which Japan has not yet reached
the poetic pinnacle.
One may be tempted to speculate that Takayama Chogyū, Bansui’s friend and
fellow editor at Imperial Literature, encouraged Bansui to express national aims in his
preface. Chogyū, after all, was around this time beginning to write in a nationalistic
vein. 25 Hakubunkan, the publishing company he persuaded to print Nature Has
Feelings, was in the meantime committing itself to several publications with nationalist
aims. In addition to The Sun, it also published Arts Club (文藝倶楽部: Bungei kurabu)
and The Youth’s World (少年世界: Shōnen sekai); after the outbreak of the SinoJapanese War it also published Records of the Sino-Japanese War (日清戦争実記:
Nisshin sensō jikki). 26 In spite of this, I have found no evidence to shed light on what
influenced Bansui’s writing of his preface.
What Bansui cannot bring himself to say directly in his preface—that he himself
is a poet with a privileged vision beyond the sensual to an ideal—he does say indirectly
in an appendix of translations by Carlyle, Emerson, Hugo, Shelley, and George Sand.
Thus, along with his preface, he uses the translations in the appendix to exhort his
fellow poets to join in the creation of a new poetic tradition. In a 1934 interview with
25
According to Senzaki Akinaka, after Chogyū returned to the Tokyo literary scene, he
“reflected the Japanese mood of the time like a mirror.” The mood in Tokyo, the capital
of the empire that had recently won the Sino-Japanese War in 1895, reflected its rising
importance on the international stage. Senzaki Akinaka, Takayama Chogyū: Bi to
nashonarizumu (Takayama Chogyū: Beauty and nationalism) (Tokyo: Ronsōsha, 2010),
102.
26
Senzaki, 103-104.
110
Yoshida Seiichi, Bansui says that the translations he added to the collection reveal his
poetic aspirations: “If you look at those, I think you will understand my aspirations.” 27
Those poets whom Bansui admires, he tells Yoshida—“poets like Hugo, Byron, and
Shelley, as well as Schiller and Du Fu—they all had a longing to create something
idealistic [アイデアリスティック: aidearisutikku]. I think that was rather different from
the poems of others.” 28
The arguments about poetry and poets in Bansui’s poems echo Emerson’s
argument in “The Poet,” in which he writes, “Nature enhances her beauty, to the eye of
loving men, from their belief that the poet is beholding her shows at the same time.”
Non-poets are “minors” or “mutes, who cannot report the conversation they have had
with nature.” Emerson continues:
For poetry was written before time was, and whenever we are so finely
organized that we can penetrate into that region where the air is music, we
hear those primal warblings, and attempt to write them down, but we lose
ever and anon a word, or a verse, and substitute something of our own,
and thus miswrite the poem. 29
The impression Emerson gives is of a poet transcribing nature’s music, albeit
27
Doi Bansui, “Tenchi ujō no koro,” 143.
28
Doi Bansui, “Tenchi ujō no koro,” 142-143.
29
Ralph Waldo Emerson, Selected Writings of Emerson, ed. Donald McQuade (New
York: Random House, 1981), 304-6.
111
imperfectly. 30 The poet must “penetrate into that region” to hear this music, and
somehow music becomes “warblings” and those warblings are transcribed as words.
The poet must transcribe the words as faithfully as possible so as not to “miswrite the
30
The musical analogy is also in the portion of Carlyle that Bansui translated: “All deep
things are song” (which Bansui renders thus: 一切の幽深の物は皆歌なり), and poetry is
“musical thought. . . .See deep enough, and you see musically; the heart of Nature being
everywhere music, if you can only reach it” (詩を呼んで音楽的思想と曰はん. . . .觀るこ
と深からば即音楽的ならん萬有の中心に達するを得ば音楽到る處に在らん). Thomas
Carlyle, “The Hero as Poet,” in On Heroes, Hero-Worship and the Heroic in History
(Lincoln: University of Nebraska Press, 1966), 83-84.
112
poem.” 31 The transcription of nature’s music into words is achieved because, in
Emerson’s words, “Nature offers all her creatures to [the poet] as a picture-language,”
and “nature is a symbol, in the whole, and in every part.” 32 That is, nature comprises
symbols, for which words are (or at least were when those words were new) adequate
vessels. Thus, no matter how great the poet may be, even in Emerson’s estimation,
31
Bansui may share Carlyle’s and Emerson’s anxiety not to “miswrite the poem” of
nature, but I have not seen him address any anxiety he may have had about miswriting
poems or other works when translating from other languages into Japanese. His own
translations are a bit loose and elide certain parts of the original works. For
comparison, here is where Bansui begins his translation of Emerson: 哲人は日常觸目の
事物中に神秘の意を觀ずオルヒアス、エムペドクルス、ヘラクリタス、プラトン、プル
ターク、ダンテ、スヱーデンボルグ及彫刻、繪畫、詩歌の名工皆然り、人間は單に形骸
に非ず、また神靈を内に有するものに非ずして直に靈の兒なり靈より成れり。斯の如く
時劫及び時劫の産物の本源は玄妙なり美麗なり、之を思ふて吾人は夫の詩人即「美の
人」の本性と本分とを究めんとす。
My translation of Bansui’s translation, with an eye to the Emerson: “Philosophers
are those who look for the mysterious meaning within the ordinary objects of sight, such
as Orpheus, Empedocles, Heraclitus, Plato, Plutarch, Dante, Swedenborg, and the
masters of sculpture, painting, and poetry. Humans are not simply skeletons, nor do
they have the spirit within them, but are rather the direct descendants of the spirit and
come from the spirit. Thus, the origins of time and time’s creations are abstruse and
beautiful. On considering this, we resolve to study the nature and functions of the poet
as a “person of beauty.”
Emerson’s original: “But the highest minds of the world have never ceased to
explore the double meaning, or, shall I say, the quadruple, or the centuple, or much
more manifold meaning, of every sensuous fact: Orpheus, Empedocles, Heraclitus,
Plato, Plutarch, Dante, Swedenborg, and the masters of sculpture, picture, and poetry.
For we are not pans and barrows, nor even porters of the fire and torch-bearers, but
children of the fire, made of it, and only the same divinity transmuted, and at two or
three removes, when we know least about it. And this hidden truth, that the fountains
whence all this river of Time, and its creatures, floweth, are intrinsically ideal and
beautiful, draws us to the consideration of the nature and functions of the Poet, or the
man of Beauty, to the means and materials he uses, and to the general aspect of the art
in the present time.” Emerson, 304.
32
Emerson, 309.
113
nature remains the unattainable pinnacle of what the poet can reach. And this is due to
the poet’s inadequate expression.
As we shall see in “The Universe and the Poet,” Bansui’s poetic speaker asks the
poet to “penetrate into that region.” The poem ends, moreover, by implicitly
reproducing Emerson’s triad, also translated in Bansui’s appendix, of Knower, Doer,
and Sayer: “These,” says Emerson, “stand respectively for the love of truth, for the love
of good, and for the love of beauty. . . .The poet is the sayer, the namer, and represents
beauty.” 33
Bansui’s translation from Shelley’s Defence of Poetry speaks as well to the poet’s
inadequate expression:
The mind in creation is as a fading coal which some invisible influence,
like an inconstant wind, awakens to transitory brightness: this power
arises from within like the colour of a flower which fades and changes as it
is developed, and the conscious portions of our nature are unprophetic
either of its approach or its departure. 34
For Shelley, then, poetic inspiration is something that cannot be summoned or
“penetrated to,” but must be allowed to flow with as little delay or encumbrance as
possible:
When composition begins, inspiration is already on the decline, and the
most glorious poetry that has ever been communicated to the world is
probably a feeble shadow of the original conceptions of the poet.35
To take it one step further, the poet is able to see (or is it to create?) the symbols
33
Emerson, 305.
34
Percy Bysshe Shelley, Percy Bysshe Shelley: The Major Works, ed. Zachary Leader
and Michael O’Neill (New York: Oxford University Press, 2003), 696-697.
35
Shelley, 697.
114
and metaphors in the universe, to produce harmonies where there were only melodies,
to plumb the meaning beyond what our senses can grasp. Such a construction, with
nature producing the melodies in a receptive poet who then produces harmonies to it,
also comes from Shelley’s A Defence of Poetry, albeit not in the passage Bansui
translated from that text:
Man is an instrument over which a series of external and internal
impressions are driven, like the alternations of an ever-changing wind over
an Æolian lyre, which move it, by their motion, to ever-changing melody.
But there is a principle within the human being, and perhaps within all
sentient beings, which acts otherwise than in a lyre, and produces not
melody alone, but harmony, by an internal adjustment of the sounds and
motions thus excited to the impressions which excite them. 36
In Bansui’s poems about poets, he provides access to other texts in a gesture
towards the mediation of poetry. He imports poetic visions in a way that does not
metabolize them for Japanese readers. Instead, he invites his readers to share his
perspective as a reader himself of great poetry. The marked access to other texts points
to the intertextual recursion of writing and reading. By placing other works between
himself and his readers, he acknowledges and even broadcasts that fact. Yet the stance
of Emerson, Carlyle, and Hugo is that the poet has privileged access to “nature.” Bansui
bypasses his own problematic access to nature to open a proven channel through other
great writers. He does not use their words fully—short quotations (translated by him, of
course) or even references to them by places associated with them, which resembles
classical poetry’s utamakura (歌枕: literally, “poem pillow”). But this is not a
channeling of their poetry in a way that could defer to their “genius”—or, not in a way
36
Shelley, 675.
115
that would allow readers to appreciate that genius or understand their poetry without
doing outside work.
One problem in Bansui’s use of allusion is thus that the “emotional” impact of the
exotic texts is deferred and must be accessed deliberately rather than spontaneously.
The result is the reader’s greater uncertainty of intuition: there is something beyond
comprehension within the poem, something that requires a critical operation in the
midst of, or perhaps after, reading the poem. The exoticism presents the more
immediate response: the fact of exotic content, and subsequently the recognition of the
source of that content, bring preconceptions (of, say, Shakespeare or Dante or the West
in general) that may initiate a preliminary wave of mystification. That mystification can
hardly be overshadowed by the reader’s subsequent grasp of the attenuated substance of
the exotic content.
Compare this to the Greek myths invoked in Wordsworth’s “The World Is Too
Much With Us.” “Proteus rising from the sea” and “Old Triton blow[ing] his wreathed
horn” are more intuitively accessible to us than Grasmere would be to Bansui’s readers a
century ago. And this is in a poem mourning the vanishing of a former mode of access
to the wonders of nature, reality, or the sensible world. That is, it mourns a mystifying
culture with an iconic reference to past mythological figures. In so doing, it presumes a
more intimate appreciation of nature, through a (poetic) misunderstanding of that very
nature. That intimate appreciation of the putative loss of appreciation for nature in
Wordsworth is effectively communicated to the reader, because of the reader’s more or
less equivalent alienation at the mention of antique figures. Yet Wordsworth was
writing in a time when mythology and ekphrasis were more common to poetry. His
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allusions were thus even more conventional in his time than they are to readers today.
Bansui’s allusions, on the other hand, introduce many conventions to his readers for the
first time. Poems with such allusions then seem to ask readers to invest the poet with an
idealized role that not only mourns lost ideals but conjures them, or at least acts as a
conduit for them. Nor is Bansui alone in crafting such poems: as we shall see in the
following chapter, Yosano Akiko also conjures diverse mystifications, though hers are
not for the sake of being “awaken[ed] to transitory brightness” of poetic insight, but
rather for the sake of exulting in dangerous pleasures.
There are two poems in Nature Has Feelings that invoke an idealized conception
of a poet. The first is “Poet” (詩人: Shijin). 37 In this poem, Bansui apostrophizes such a
poet, comparing him or her to a succession of figures. The repetition accentuates the
structure of the poem as a poem. The first two stanzas compare the poet to two human
types that seem as far as possible from Carlyle’s heroic poet: a maiden drunk on love and
an innocent child. Yet both figures have the poetic insight to hear, see, and speak of
what cannot be sensually observed. In the final three stanzas, the poet is granted an
ascending succession of scenic forms, from the waves of the sea to a mountain to the
moonlight. The speaker of the poem, seeking intersubjectivity with the poet through
feats of imagination, demonstrates a poetic faculty himself.
O poet, should I describe you
37
詩人よ君を譬ふれば
“Poet” was published relatively early among Bansui’s poems, in the April 1897 issue of
Imperial Literature. In Nature Has Feelings, it appears tenth. A shijin is specifically a
poet of shi, not of waka or haiku. (The term for a waka poet is kajin, and for a haiku
poet, haijin.) Following the discussion of Bansui’s referring to shi alone and not shiika
in his preface, are we meant to take the shijin as a poet in such a limited sense? I would
say not, since there was not a convenient term to refer to poets of multiple genres.
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As a maiden drunk on love?
戀に醉ひぬるをとめごか
For you hear music in the storm,
あらしのうちに樂を聞き
And you see flowers in wild fields.
あら野のうちに花を見る。
O poet, should I describe you
詩人よ君を譬ふれば
As a child blind to the world’s sins?
世の罪しらぬをさなごか
For a divine voice sounds from your lips,
口には神の聲ひゞき
And a dream of heaven is in your eyes.
目にはみそらの夢やどる。
O poet, should I describe you
詩人よ君を譬ふれば
As the waves of the open sea?
八重の汐路の海原か
On the surface a raging storm,
おもてにあるゝあらしあり
And hidden in the depths a pearl.
底にひそめるまたまあり。
O poet, should I describe you
詩人よ君を譬ふれば
As a volcano rising into the clouds?
雲に聳ゆる火の山か
Stars sparkle from your brow,
星は額にかゞやきて
Waves of fire gush in your breast.
焔の波ぞ胸に湧く。
O poet, should I describe you
詩人よ君を譬ふれば
As the cool light of the evening moon?
光すゞしき夕月か
Your body is held in the heavens,
身を天上にとめ置きて
And your reflection in the dust of the world below.
影を下界の塵に寄す。
The poem’s final two lines separate the poet’s ideal “body” from the this-worldly
“reflection” of that body. The moon itself is out of reach, but it lowers itself in the form
of its reflection to the world of dust below. Likewise, Bansui’s ideal poet is the mediator
between the ideal (the moon held high in the heavens) and its reflection in poetry.
Here, as in many of Bansui’s poems, the word for “reflection” or “shadow” (影:
kage) highlights the phenomenological uncertainty, or at least mediation, of the visual
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image. The image of the moon reflected in the world below is not real, but rather an
ideal that travels along with humanity. The real moon is always out of reach, like the
poet whom he serenades.
Through the Immeasurable All
“The Universe and the Poet” (萬有と詩人: Ban’yū to shijin) is the most thorough
and direct treatment of the role of the poet in Nature Has Feelings. 38 The poem is
concerned with the role of the poet in representing, even bringing life and meaning to,
the universe. As in “Poet,” the speaker betrays his own poetic vision in the very
awareness of moving beauty from which he pretends to be alienated. This irony
effectively heightens the reader’s appreciation that there is something more than what
mimetic description can convey. Thus, the poetic speaker gestures towards both an
ideal of the poetic act and an ideal beyond the sensory.
The poem presents its first tangle in the word ban’yū in the title. The characters
for ban’yū mean “myriad” and “exist,” thus denoting “all things.” The term ban’yū
stands in place of more common words for the universe or nature, such as banbutsu (万
物: myriad things), uchū (宇宙: universe), or, as used in the title of Bansui’s poetry
collection, tenchi (天地: heaven and earth). Bansui himself uses ban’yū as a translation
for “Nature” in his translation of Carlyle’s “The Hero as Poet,” but he also uses ban’yū
shizen (萬有自然: myriad things of nature) to speak of “nature” in his translation of
38
“The Universe and the Poet” first appeared in the January 1898 edition of Imperial
Literature. It is the fifth poem in Nature Has Feelings.
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Emerson. The second element in the title is shijin, poet. Again, Bansui condemns waka
and haiku by omission. I have thus been tempted to translate Ban’yū to shijin as
“Nature and the Poet,” to echo Wordsworth’s poem of the same name. In Wordsworth’s
poem, the speaker interacts with a natural scene through the mediation of a painting.
The painter stands for a poet and the painting for a poem. Wordsworth even ironically
imagines what he would have done
if mine had been the painter’s hand
To express what then I saw, and add the gleam,
The light that never was on sea or land,
The consecration, and the Poet’s dream.
In a similar fashion, Bansui imagines what the poet might make of nature’s wonders.
But where Wordsworth would take Peel Castle out of the storm and set it in fair weather,
Bansui embraces the chaos and the storms of the universe, along with everything else in
it. Also, Wordsworth’s would-be painter stands outside the painting, outside the
“nature” of the poem. Thus, I have chosen to avoid, in this instance, the overladen word
“nature” and favor “the universe” instead.
More relevant than Wordsworth’s “Nature and the Poet” may be his “Intimations
of Immortality from Recollections of Early Childhood,” because it reflects on the
speaker’s loss of appreciation for the wonders of nature as he ages:
Whither is fled the visionary gleam?
Where is it now, the glory and the dream?
That is precisely what Bansui asks of the poet in “The Universe and the Poet”:
My heart is not stirred by the rainbow,
虹にも醉はぬわがこゝろ
My heart is dull to the waves—
波にもにぶきわがこゝろ
It begs of you one thing: your song.
たのむは獨り君が歌。
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Both Bansui and Wordsworth betray their own poetic vision, though, in the very
awareness of moving beauty from which they pretend to be alienated. Yet this is
effective in the way that their irony heightens the reader’s appreciation of their
observations beyond the descriptions on the page. But there is not just more to
“nature” (or whatever you like)—there is also more to that poet, who can present himself
as a shadow of something even greater. The poet gestures towards both an ideal of his
subject and an ideal of himself.
“The Universe and the Poet” opens with an epigraph from Lucretius’s On the
Nature of Things (De rerum natura): “And he has traveled through the immeasurable all
in mind and spirit.” 39 Bansui’s choice of this elliptical, understated line raises several
questions. First, vanishingly few of Bansui’s readers would understand Latin. Yet the
name of Lucretius may have given them a clue to the philosophical context, even for
those who would not know that the unidentified subject was Epicurus, the hero of the
opening to the poem.
Second, the epigraph did not appear when the poem was first published in
January 1898, but was added when the poem was published in Nature Has Feelings the
following year. The fact that Bansui added the epigraph to the poem for publication in
the full volume suggests that the line of Latin may have been chosen as felicitous after
39
Atque omne immensum peragravit mente animoque. Lucretius, De rerum natura
(On the nature of things), with trans. W. H. D. Rouse, rev. Martin Ferguson Smith
(Cambridge: Harvard University Press, 1992), 8 (Book I, line 74). In the title De rerum
natura, the word natura by itself can mean simply natural disposition or character.
Rerum natura is a set phrase meaning nature, the natural world, or the universe.
Hence, the otherwise unexceptional, genitive “of things” does the heavy lifting to make
nature Nature, and in my view it emphasizes the multiplicity of things, phenomena,
matter(s) in the universe.
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its composition, instead of serving as the catalyst for the poem. While that may be true,
as I show below, the content of the poem reveals that On the Nature of Things exerted a
significant influence on the composition of the poem. 40
Third, Bansui also omits the line’s revealing context. Epicurus was the brave
Greek who stood up to religion, who, as Lucretius writes, “desired to be the first to break
open the firm bolts of the doors of nature.” 41 Why choose a vague line over some more
pertinent passage that might have better elucidated Lucretius’s poetic philosophy?42
More important than the precise context of the line from Lucretius appears to be the
inclusion of the words “travel,” “all,” “mind,” and “spirit.” In other words, the epigraph
foregrounds the equivalence of physical space (travel) and mental imagination.
Epicurus, like any great poet, possessed a mind equal to the great mysteries of the
universe. The epigraph thus highlights the poet’s function of reporting on mental
40
Compare “Light” (光: Hikari), another long poem from Nature Has Feelings, which
carried an epigraph from Milton’s Paradise Lost. “Light” is heavily influenced
throughout by Book III of Paradise Lost, and yet its epigraph of the first two lines (“Hail,
holy Light, offspring of Heaven, First-born! / Or of the Eternal coeternal beam”) did not
appear in the poem’s first publication in Reflections Magazine in January 1898.
41
Effringere ut arta / naturae primus portarum claustra cupiret. Lucretius, 8 (Book I,
lines 70-71).
42
For example, Lucretius’s Proem to Book IV compares the use of poetry for articulating
philosophy to a physician’s use of honey on the brim of a cup of wormwood medicine.
In doing so, Lucretius even admits the bitterness of his concepts: “I have wanted to
expound our reasoning to you in pleasing Pierian song, and to touch it as if with a
muse’s sweet honey; if by chance I could hold your mind with such reasoning in our
lines, until you perceive the entire nature of things and understand their
usefulness.” (Volui tibi suaviloquenti / carmine Pierio rationem exponere nostram / et
quasi musaeo dulci contingere melle; / si tibi forte animum tali ratione tenere / versibus
in nostris possem, dum percipis omnem / naturam rerum ac persentis utilitatem.)
Lucretius, 276, 278 (Book IV, lines 20-25).
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adventures. 43 Bansui uses poetic predecessors as mediators, as Dante did, except that
he takes their language as a souvenir of their travels, not as the product of his imagined
companionship with them on those travels.
Even in Lucretius’s materialistic conception of the universe, there is an idealized
understanding of the poet’s phenomenological and descriptive capabilities. His
atomistic view of the universe offers answers to questions of phenomena (such as
thunder) that cannot easily be explained by observation alone. Accordingly, Lucretius
devotes his treatise in poetry to explanations of phenomena that go beyond what we can
perceive with our senses. The balance between materialist and spiritual was also to
become a central struggle in Romantic literature, especially that of Shelley. As Monika
H. Lee explains, “The contrast between these two sets of beliefs and the way this conflict
plays itself out in terms of language is a central aspect of Romanticism—one that Shelley
contended with throughout his literary career. He is adept at conflating and
43
Bansui repeats this formula of invoking a powerful peripatetic poetic predecessor in
his poem “Evening Thoughts” (夕の思ひ: Yūbe no omoi), in which he notes Dante’s
poetic return from Paradise with his own report:
As bees gathering nectar up
花より花にむれとびて
Dart from flower to flower,
蜜を集むる蜂のごと
I watched the soul flying
星より星に光をと
From star to star for light—
飛行く魂を眺めけむ
As someone bringing back home
詩人のくしきまぼろしを
The poet’s ethereal vision.
たれかうつゝに返すらむ。
Bansui gives the following endnote to identify “the poet”: “See Paradiso from Dante’s
Divine Comedy.” Note that Lucretius reports on Epicurus’s travels, and Dante reports
on travels with Virgil and later Beatrice. Therefore, the poet is not able to travel on the
spiritual journey alone, but requires the mediation of another—in these cases, a
philosopher, another poet, and a past love.
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synchronizing philosophical quandaries and poetic strategies that seem to be at odds
with one another. . . .Shelley uses reason and imagination to critique each other.” 44
Seen in this light, Bansui’s epigraph comes to seem like anything but a casual choice,
for, no matter how we judge Bansui’s adeptness, he also aimed at synchronizing
seemingly incompatible philosophical quandaries and poetic strategies.
To stand back and take in a spatial and temporal perspective far broader than
what humans can directly perceive requires the exercise of reason and imagination
together. It also requires poetic language that goes beyond mimetic representation.
Bansui celebrates the philosopher’s non-empirical insights into the materialist workings
of the universe. He explicitly subscribes to this view in “The Universe and the Poet,” as
he addresses a poet whose capabilities surpass those of ordinary human beings. The
poem begins:
44
O poet, have you sung,
「渾沌」よさし窮りて
And played the zither in the light
時「永劫」のふところを
Of the morning star that sparkles in your hairpins,
出でしわが世のあさぼらけ
Of the dawn of our world,
かざしににほふ明星の
When at the brink of Chaos
光に琴を震はして
Time came forth from the bosom of Eternity?
詩人よ君は歌ひしか。
Monika H. Lee, “‘Nature’s Silent Eloquence’: Disembodied Organic Language in
Shelley’s Queen Mab,” Nineteenth-Century Literature 48:2 (Sept. 1993), 170. Shelley
takes after Lucretius in blending materialist and spiritual views—and in confusing
readers about which of the two views he espouses. Paul Turner notes that this similarity
is no accident, for Shelley was a great admirer of Lucretius. Along with themes such as
looking down on the turmoil of life from serene heights and the poet’s defamiliarizing of
the world, Turner points in particular to Queen Mab as a poem that is consciously
modeled on On the Nature of Things: “both are anti-religious sermons on ethics,
supported by quasi-scientific accounts of the physical universe and surveys of human
evolution.” Paul Turner, “Shelley and Lucretius,” in The Review of English Studies, new
series, 10:39 (Aug. 1959), 270, 273, 276.
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This “poet” takes the place of the muse addressed in Milton’s Paradise Lost or Venus
addressed in Lucretius’s On the Nature of Things. The poet here, playing a zither (琴:
koto) and wearing hairpins, is thus both gendered feminine and linked with music—
hints of Erato, the muse of love poetry. His poet, like Epicurus from the epigraph to On
the Nature of Things, travels through, or mentally communicates with, the
“immeasurable all” (omne immensum) of the universe. Bansui, however, speaks
ironically to a poet whose talents and vision he envies but cannot equal, even while he
invokes poetic conceptions in poetic language. It is the same approach he used in “Poet”
above. In stanzas 3 through 5, Bansui repeatedly invokes a “muse,” 45 though not as his
own poetic benefactor, as he himself is not a poet, but rather as the inspiration for this
apostrophized poet:
45
Lo, the whitecaps frothing up
あゝわだつみの波の花
Are to me like flying silver snakes;
銀蛇の飛ぶに似たるかな
I raise my eyes to see a rainbow aloft in the sky—
仰げば空に虹高し
My heart is not stirred by rainbows,
虹にも醉はぬわがこゝろ
My heart is dull to the waves—
波にもにぶきわがこゝろ
It begs of you one thing: your song.
たのむは獨り君が歌。
A baptism of living fire burns
生ける焔のバプテズマ
And sweeps away this worldly dust,
浮世の塵を燒き掃ひ
Summoning the wind to stir the clouds,
雲を震はせ風に呼び
Attending light and darkness,
光に暗に伴ひて
And racing hither from the far skies—
大空遠く翔けりくる
Do you hear the muse’s song?
詩神の歌を君聞くや。
In the first publication, the Japanese was myuuzu (ミュウズ: muse), but subsequently
Bansui changed it to shishin (詩神: divinity of poetry). I would translate both as “muse.”
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Morning sunlight and evening glow
あさ日の光りゆふ光り
With such skill in different colors
かれとこれとの染め替ふる
Dye the pale and flowery robes
たくみもよしや天雲の
Of the clouds—and pulling at
輕羅のころも花ごろも
The crimson of their trailing hems,
曳くやもすその紅に
Do you see the muse’s image?
詩神の影を君見るや。
We see the speaker of the poem using a simile: the whitecaps are like flying silver snakes
(to say nothing of the fact that he is communicating in verse); but he denies that a poetic
faculty dwells within himself. He requires the intervention of a poet to bring him joy in
his experience of the universe.
Bansui suggests all time and all space by invoking the four seasons, as below,
along with their references to places in Japan, Europe, China, and the northern seas.
This sequence of imagery then yields to the end of time and the end of heaven and earth,
before returning to the present, transient moment:
46
In spring—the faint dawn light in Yoshino,46
春は吉野のあさぼらけ
The crimson of the pressing mist,
こむる霞のくれなゐも
The ridge of bursting flowers far off;
遠目は紛ふ花の峯
In summer—twilight on the Rhine,
夏はラインの夕まぐれ
The water flowing far and pure
流は遠く水清く
Reflects the deep green of the banks.
映るも岸の深みどり
Yoshino (吉野): An ancient place name in what is now southern Nara Prefecture,
where there was a detached palace and hills famous for cherry blossoms.
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47
The rippling pools of the Miluo River 47
汨羅の淵のさゞれなみ
And the clouds on Wu Shan 48 disappear,
巫山の雲は消えぬれど
And then again the scattering voice of autumn; 49
猶搖落の秋の聲
Is the crimson casting light on boulders
潮も氷る北洋の
Glazed with ice from the north sea waves
巖を照らすくれなゐは
The unsinking light of the midnight sun?50
光しづまぬ夜半の日か。
Do you see a vision here
路に斃れしカラバンの
Of the end of time 51 when all is snuffed out,
枯骨碎けて塵となり
And the rotting bones of the broken down
魂啾々の恨さへ
Caravan crumble into dust in the road,
あらしにまじる大砂漠
And even the grief of the wailing soul
もの皆滅ぶ空劫の
Swirls into the storm of the great desert?
面影君はこゝに見む。
Do you see a vision here
黒雲高くおほ空の
Of the chaos of indistinct heaven and earth,
照る日の影を呑みけして
Miluo River (汨羅, J: Bekira): A river in northeast Hunan Province. It is the river in
which the statesman and poet Qu Yuan (屈原, J: Kutsugen, circa 343-277 BCE) drowned
himself.
48
Wu Shan (巫山, J: Fuzan): A famous mountain between Sichuan and Hebei provinces.
Its clouds and rain were thought to exemplify the passions of men and women. It is not
far from the Miluo River.
49
Scattering voice of autumn (揺落の秋の声: yōraku no aki no koe): Kubo Tadao
provides a quotation of a Du Fu poem that links this phrase with Wu Shan. Kubo, Doi
Bansui, 451.
50
Midnight sun (夜半の日: yowa no hi): The image of midnight sun is problematic here.
It is unclear where Bansui learned of it. Stanzas eight and nine can be broken into
three-line sections dealing with each of the four seasons in turn. The midnight sun on
the frozen north seas evokes wintry cold, but of course it is a summer phenomenon.
51
End of time (空劫: kūkō): The fourth of four phases of the universe. This is the time
between the end of one world and the beginning of the next world.
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Of black clouds rising in the sky
紅蓮の焔すさまじく
To swallow up the shining sun,
巖も熔くる火のみ山
Of fierce flames of Red Lotus Hell, 52
あめつちわかぬ渾沌の
A great volcano melting boulders?
おもかげ君はこゝに見む。
Weary from chasing illusions,
まぼろし追うてくたびれて
Temporary lodgings53 at the field’s edge,
しばし野末の假のやど
What kind of dreams do you weave?
結ぶや君よ何の夢
On waking to see reddened palms,
さむれば赤したなごゝろ
Are those sweet roses next to you
あたりの風を匂はして
That smile and perfume the breeze?
笑むはやさしの花ばらか。
The speaker continues to address the poet, and “you” the poet now seems to be a
composite of William Wordsworth and D. G. Rossetti. Bansui gives endnotes to let the
reader know he is referring to these two in the following stanza:
In paths through meadows you’ve heard flowers
涙にあまる思とは
Singing thoughts that brim with tears;
歌ふをきゝぬ野路の花、
In empty shells on rocky shores
荒磯蔭のうつせ貝
So many people without voices;
聲なきものを何人か
You’ve heard the ocean’s melody
海のしらべをこゝろねを
Somewhere deep inside your heart.
其一片に聞きにけむ。
The first two lines echo Wordsworth’s “Intimations of Immortality from Recollections of
Early Childhood”:
To me the meanest flower can give
Thoughts that do often lie too deep for tears.
52
Red Lotus Hell (紅蓮: guren): The seventh of eight Buddhist hells, in which the cold
causes skin to turn blood red and fall off.
53
Temporary lodgings (仮のやど: kari no yado): This mortal coil, a common phrase in
Japanese poetry.
128
The reader must know, or must discover, that the context of Wordsworth’s poem
laments the loss of his childlike wonder at a universe pregnant with emotion, whose
phenomena are emanations of its ideal forms. Wordsworth credits the child, not
Bansui’s poet or Lucretius’s philosopher, as the ideal apprehender of the universe.
The allusion to Rossetti is “The Sea-Limits,” a poem that goes beyond
Wordsworth’s meditation on the feelings caused by nature to express the feelings
shared by “the thronging voices of Earth, Sea, and Man,” which all ebb and flow
together, as heard through a seashell:
Gather a shell from the strown beach
And listen at its lips: they sigh
The same desire and mystery,
The echo of the whole sea’s speech
And all mankind is thus at heart
Not anything but what thou art:
And Earth, Sea, Man, are all in each.
Perhaps more than any other reference in Bansui’s work, this captures the sentiment
expressed in the title of the volume, Nature Has Feelings.
Bansui continues to invoke poets from various traditions in a way that gestures
towards a comprehensive, global canon of poetry. His poetic speaker asks the poet:
Whither go the stars that flow
心の窓も押しあけて
Into the sky you gaze out on,
眺むる空に流れくる
Opening the very window of your heart—
星の行衞はいづくぞや
To the banks of the clear Avon,
清きアボンの岸のへか
To the blooming Tuscan fields,
咲くタスカンの花の野か
To the wooded shade of Weimar?
それワイマアの森蔭か。
In endnotes to the poem, Bansui explains that Avon, Tuscany, and Weimar stand for
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Shakespeare, Dante, and Goethe. These in turn stand in for all great poetry, a
comprehensiveness of the literary record that matches the comprehensiveness of the
poet’s capabilities of insight. By the end of the poem, however, Bansui has left behind
poetic comprehensiveness. He looks instead to the stars, and specifically the North Star,
for his ideal, before turning explicitly to Platonic philosophers:
54
The North Star is far, its light is high—
北斗は遠し影高し
Its rays of hope and color of love
望の光り愛の色
Stand out up there; and in Orion,
かれにもしるき參宿の
Shining up there across his belt
もなかにひかりかゞやきて
(Symbols of truth, good, and beauty)
（かたどる影は眞善美）
—The three stars are aligned just so.
三の星こそ並ぶなれ。
If we could peer straight through the earth,
坤輿一球透き通り
As though looking up instead,
仰ぎて上に見るがごと
And gaze at the ten million
下にも光る千萬の
Constellations that shine below,
星の宿りを眺め得ば
We’d know “the world down here” 54 means naught
下界の名さへ空しくて
And that our world is glorious.
我世いみじと知るべきを。
The light of truth and beauty of truth
まことの光りまことの美
Are shrouded behind a thin mist;
狹霧に
Hovering in the dark, my heart
暗にさまよふわがこゝろ
Begs of you one thing: your song—
たのむは獨り君が歌
Let your song bloom for the sake
紫蘭の薫り百合花の色
Of orchid’s scent and lily’s hue.
爲めに咲かなん君が歌。
Strumming your bejeweled harp,
しらべも高くねも高く
Softening the raging storm,
あらきあらしを和げて
はれとざされて
The world down here (下界: gekai): Literally, “the world below.” Bansui commonly
uses this phrase to refer to the real world in contrast to an ideal world or heaven.
130
To tender music you convert
微妙の樂に替ふるてふ
Its loud and high-pitched din;
君が玉琴かきならし
Smiling in the midst of tears,
涙のうちにほゝゑみて
Shining even in the dark—
暗のうちにもかゞやきて—
As Orpheus did, unbind your soul
かのオルヒスのなすところ
From its tie to the underworld;
陰府に繋がる魂を解き
As Pythagoras professed,
かのピタゴルの説くところ
Listen to the celestial music;
御空に星の樂を聞き
As Plato beheld, be overwhelmed
かのプラトンの見るところ
By a dream of high ideals!
高き理想の夢に醉へ。
As a trinity, it is no accident that the Greeks above correspond to the Beautiful, the True,
and the Good mentioned four stanzas earlier. Orpheus the artist and poet represents
the Beautiful, Pythagoras the scientist represents the True, and Plato the philosopher
represents the Good. Returning to Emerson, then, Bansui’s ideal poet is not merely the
Sayer of the Beautiful, but also the Knower of Truth and the Doer (or at least dreamer)
of Good at the same time. 55 Such an ideal (in spite of Plato’s expulsion of poets from his
Republic) finally gives a reason for Bansui’s claim in his preface, that “poetry is the
essence of the people, and there has never been a great people without its great book of
poetry.”
Kage: The Reflection of Nature
Bansui’s kage, like Yosano Akiko’s kami (神: deity) in the following chapter,
means so many things—or nothing. Both of these terms are ciphers, standing at the
55
See “The Poet,” in Selected Writings of Emerson, 305.
131
limit for an excess that cannot be described, for links that cannot be confidently traced,
for traces of what is always just out of sight.
Bansui’s poems are as conspicuously populated with the term kage as Victor
Hugo’s poems are with the word for shadow, ombre. Hugo uses phrases like “shadow
that passes” (ombre qui passe)56 to describe human existence, therefore making the
ombre highlight the insubstantiality of mortal lives. These two terms deserve careful
consideration of how they overlap and differ. Both can mean “shadow,” but kage can
also mean “figure” or “image.” The Japanese word kage has more varied, and thus
problematic, senses attached to it, ranging from “shadow” to “light,” from “image” to
“reflection.” An English-language reader might even think some of these senses were
antonyms of each other. In a passage of “Evening Thoughts” discussed below, for
example, I have translated hoshi no kage (星の影) as “shining star,” but the kage of a
star could be its light, its image, or its reflection. In an even more perplexing example
later in the same poem, the speaker gazes up at the omokage (面影) of eternity. That
omokage can be the traces, vestiges, image, or even illusion.
Thus, the word carries a stronger indication of phenomenological uncertainty in
the visual image, while implying a separation of image from truth or image from ideal.
Indeed, there is an idealism in Bansui’s kage, something beyond the kage. Yet it can
also seem as if nothing were beyond the kage, because at times kage is often used as a
mere metrical placeholder—nothing more than a shadow of meaning. Or its meaning is
56
From “Où est donc le bonheur?” (Where then is happiness?), in Victor Hugo, Les
Feuilles d’automne, Les Chants du crépuscule (Autumn leaves, Songs of twilight) (Paris:
Garnier-Flammarion, 1970), 75.
132
so shifty that it can stand for whatever it shadows. Is this just a problem for translators
whose target language has no suitably broad equivalent? What are all the meanings of
this word?
We must first confront the orthographic problem. Kage can be written with one
of several characters: 陰, 蔭, 翳, 景, or 影. The first three are roughly interchangeable,
and their meaning is more restricted to the sense of “shadow.” The fourth character is
rarely used in this sense, instead being reserved mostly for its separate sense of
“condition” or “view” of things, as in “scenery” (風景: fūkei) or “description” (叙景:
jokei). It is thus the fifth character, 影, that causes the most difficulty. Indeed, this is
the character Bansui uses most often for kage. When he does not use this character, he
writes the character in kana (phonetic characters), as かげ, leaving all the senses of the
word available to the reader.
Shōgakukan’s Great Dictionary of the Japanese Language gives the following
senses of kage (影 or 景):
1. The light [光: hikari] of the sun, the moon, a star, a lamp, an electric light, etc.
2. The figure [姿: sugata] of an object made visible by the reflection of light off it.
a. The figure or shape [形: katachi] of a real thing reflected in the eye.
b. The visible reflection of an object’s shape and color in a mirror, the
surface of the water, etc.
c. The figure of a person not present but pictured in the mind. A vestige
[おもかげ: omokage].
3. The outline [輪郭: rinkaku] of an object as shown by its absorption of light.
Also, something regarded as a duplicate of the real thing.
a. The dark shape of an object produced on the side opposite to light by
that object’s obstruction of light. A projection. A shadow [影法師:
kagebōshi].
133
b. Something that always accompanies and is not separated from
something else.
c. In waka, linked verse, Nō, etc., the connotations or deeper meaning of a
work.
d. A thin, narrow figure. A gaunt figure. Morning light [朝蔭: asakage].
e. Something without substance seen palely and dimly.
f. A dead person’s soul. A spirit.
g. Something created or drawn that looks like the real thing. An imitation.
A portrait.
h. The expression on the face of a psychological or inner state, etc. [This
dates only to 1948.]
i. Something without substance pictured in the mind according to fancy.
[This dates to Futabatei Shimei’s novel Ukigumo [浮雲: Floating clouds,
1887-88.]
j. Something seen or felt because of previous experience of it. [This dates
to 1900.]57
A crucial attribute of the term kage, then, is that it is the effect of the action of light/
hikari/rayon. We might then posit kage as the image, the phenomenon, not the
substance or ideal.
Now let us return to “Evening Thoughts” (夕の思ひ: Yūbe no omoi), with which
this chapter began. It is the most explicitly idealistic poem in Nature Has Feelings, and
also perhaps the most tied up with the aforementioned notion of kage. The second of its
two epigraphs is from Tennyson’s In Memoriam A. H. H., in which Tennyson’s speaker
searches for faith beyond what can be verified by the senses and exclaims:
O life as futile, then, as frail!
O for thy voice to soothe and bless!
57
Nihon kokugo daijiten (Great dictionary of the Japanese language), Select edition, vol.
1 (Tokyo: Shōgakukan, 2006), 1025. All senses under numbers 1 and 2 are attested as
far back as the late eighth century Collection of Ten Thousand Leaves (万葉集:
Man’yōshū). The first seven senses (a through g) of number 3 also date back five
hundred to a thousand years. The dictionary’s examples of usage are omitted here. A
fourth category of two narrow senses (including an Edo-period rank for prostitutes) has
also been omitted.
134
What hope of answer, or redress?
Behind the veil! behind the veil!58
Bansui again invokes the reflection on the water’s surface as a way to highlight
the insubstantiality of images, but this time he plumbs the depths below the surface, as
well. No matter how high the moon rises above, it cannot bring light or joy to the
depths:
Though in the quiet flowing Avon
アボンの流しづかにて
Coolly swells the moon aloft,
すゞしく月を宿せども
The waters at the invisible bottom sob;
見えぬそこひに波むせび
And on the surface of Grasmere, too,
グラスメヤアの水面にも
Seeing this world’s images reflected,
うつる此世の影見れば
I only long for the sea gods59 there.
たゞ海神のなつかしや。
“This world’s images reflected” in the water “move us not,” to use Wordsworth’s phrase
from the famous sonnet to which Bansui points the reader in his footnote. Wordsworth
sees that “we are out of tune” with the wonders of nature:
Great God! I’d rather be
A Pagan suckled in a creed outworn;
So might I, standing on this pleasant lea,
Have glimpses that would make me less forlorn;
Have sight of Proteus rising from the sea;
Or hear old Triton blow his wreathed horn.” 60
58
Alfred Tennyson, In Memoriam A. H. H., verse 56, stanza 7, lines 1-4. This is the
same verse in which Tennyson famously speaks of “Nature, red in tooth and
claw” (stanza 4, line 3). See Tennyson’s Poetry, 2d ed., ed. Robert W. Hill, Jr. (New
York: W. W. Norton, 1999), 238-9.
59
Sea gods (海神: kaijin): Bansui gives this note: “Namely, Proteus and Triton. See the
famous poem ‘The World Is Too Much With Us.’” (Bansui gives the poem’s title in
English.)
60
William Wordsworth, “The World Is Too Much With Us,” lines 9-14.
135
Since Bansui combines Shakespeare and Wordsworth in one stanza, referring to a
specific poem by the latter, one might hope to find a parallel Shakespeare reference to
deep waters that sob. That would balance the first and second halves of the stanza, as
Bansui frequently does. But no particular reference to Shakespeare stands out among
moon or watery sobs. Instead, in the sea gods Bansui identifies as Wordsworth’s
Proteus and Triton, one may hear echoes of the sea-nymphs of The Tempest. The whole
stanza, then, flows towards the lost sea gods. Bansui has, unwittingly perhaps, used
Wordsworth to negate Ferdinand’s father’s “sea-change / Into something rich and
strange.” 61
“Evening Thoughts” does not end as pessimistically as one might expect, in spite
of Byron’s “child of Doubt and Death” and Schiller’s vanished ideals. First, it
equivocates:
In the human world where only ruin prevails,
荒れのみまさる人の世に
At least the flower of love smells sweet.
せめては匂ふ戀の花
But eventually Bansui compares the onset of reality to the waking of a child:
The infant’s sleep lasts but a spell;
稚子の眠りもひとゝきや
And soon enough the worldly storms approach,
やがて寄来ん世のあらし
The bitter storms to which the child awakes.
つらきあらしのさますらむ。
Note that several of Bansui’s precursors use a similar trope of childhood as carefree and
wondrous, followed by a worrisome and dispiriting adulthood of cheerless
61
William Shakespeare, The Tempest, 1.2.403-4.
136
understanding. 62 The fourth and final section then reveals a speaker overcome with
emotion, earthbound as he is, at the kind of images that once failed to stir Wordsworth.
62
Darkened solitary thoughts,
ひとり思にかきくれて
My stopping shadow and pressing cloud
たゝずむ影もゐる雲も
Vanish in the lonely dusk;
消えてむなしき夕まぐれ
Is it the gracious watch of God?—
神の慈愛のまなじりか
In the sky when green fades out
みどり澄みゆく大空に
O how the stars begin to shine!
はやてりそむる星のかげ。
O shining stars, how dear to me,
あゝなつかしの星の影
In this passing dream, this human world,
夢と過行く人の世に
Showing traces of Eternity;
猶「永劫」のあと見せて
As in long ago, when separated
あめとつちとの剖れけむ
Into heaven and earth, forever
むかしのまゝにとこしへに
Redolent with youthful starlight.
わかき光に匂ふかな。
Lifting my eyes to that eternity
其永劫の面影を
I am overcome by tears,
仰げば我に涙あり
Gasping after traces of Hope,
高くたふとく限りなき
Whose image rests beyond the sky,
靈のいぶきに扇がれて
Lofty, noble, without bounds,
空のあなたにかげとむる
Fanned by the breath of the soul.
「望」のあとに喘ぎつゝ。
In heaven light, in earth darkness,
天には光地には暗
And my thoughts hovering between;
あひにさまよふ我思ひ
Gathering sorrows of the floating world,
浮世の憂を吹寄せて
The tempests cried, “Despair!”
あらし叫びぬ「惱よ」と
Just among poets already discussed, the trope of lost wonder with lost childhood
appears in Schiller’s “Die Ideale” (The ideals), Wordsworth’s “Intimations of
Immortality from Recollections of Early Childhood,” Byron’s Childe Harold’s
Pilgrimage, Hugo’s “Où est donc le bonheur?” (Where then is happiness?), and
Tennyson’s In Memoriam A. H. H.
137
Revealing faintly the glory of God,
神の光榮をほのみせて
The stars whispered, “Hope!”
星さゝやきぬ「望よ」と。
The poem thus ends by placing thoughts between an ideal heaven and the real world of
dust down here. The linguistic traces—the tempests’ “Despair!” and the stars’ “Hope!”—
reach the speaker’s thoughts between the real and the ideal.
Echo as Kage
In “Evening Bell” (暮鐘: Boshō), 63 the echo of the bell takes over the role played
by kage in many of Bansui’s other poems. The traces of phenomena are auditory
echoes, not visual reflections—Echo, not Narcissus. It begins with an epigraph taken
from Hugo’s “To Louis B.” (À Louis B.) in Songs of Twilight (Les Chants du
crépuscule). 64 The epigraph establishes sound as the primary sense:
The bell! Echo of the sky set close to the earth!
Rumbling voice that speaks beside the thunder,
One made for the city, the other for the sea!
Vase full of murmurs that empties itself in the air!
Hugo: Songs of Twilight65
63
“Evening Bell” first appeared in the April 1898 issue of Imperial Literature, along
with “Stars and Flowers” (星と花: Hoshi to hana) and “The Eagle” (鷲: Washi), grouped
under the title “O Echo of the Flute” (
笛餘韻: Aa fue yoin). Note that both flute and
bell are played by humans yet transmit an otherworldly sound. In Nature Has Feelings,
“Evening Bell” is the last poem.
64
See Victor Hugo, Les Feuilles d’automne, Les Chants du crépuscule (Autumn leaves,
Songs of twilight) (Paris: Garnier-Flammarion, 1970), 226.
65
The stanza is given in French at the head of Bansui’s poem:
La cloche! écho du ciel placé près de la terre!
Voix grondante qui parle à côté du tonnerre,
Faite pour la cité comme lui pour la mer!
Vase plein de rumeur qui se vide dans l'air!
138
The overlap between sound and sight is not quite synesthesia; rather, sound
complements vision as the ideal complements the real. Hugo’s “echo of the sky set close
to the earth” hints at the complementarity. The four lines extracted from Hugo
introduce the theme of the sound of the bell, a sound that seems to spill either from an
ideal world into the real world or from the real world into an ideal world.
To be more specific, the sound of the bell is like a voice, whether of a person or of
a god. In the lines following Bansui’s excerpt, Hugo remarks on “this bronze animated
by God himself” (cet airain par Dieu même animé). The thunder speaks to the sea as
the bell speaks to the city. Yet if the bell is the echo of the sky, then it is not the original
sound. “Evening Bell” addresses this directly in the third stanza: “Echo of heaven, cry of
earth” (天の返響地の叫び). The sound of the bell may come as an echo from another
world, but it also serves as an auditory, temporal accompaniment—not a visual, spatial
guide—to those who listen (back?) to that other world, or on into infinity. Hugo’s poem
adds a layer of irony to the bronze bell: the bronze stands for a statuesque ideal of
heroism that cannot be achieved. One climbs the bell tower, the “holy tower where
thought is mixed into granite, / Where man lays his soul, where the bird makes its
nest!” 66 But each traveler in turn profanes the bell:
Everywhere impure words engraved in the metal
Interrupt the inscription it was christened with.
One can make out also, on its chiseled top,
A ring of jabs by a mutilated knife.
Each, on this bronze animated by God himself,
66
“Tour sainte où la pensée est mêlée au granit,
Où l'homme met son âme, où l'oiseau fait son nid!”
139
Has dug a furrow where nothing sprouted!67
The bell itself then becomes the human soul, according to Pierre Albouy: “In a word, the
bell is no longer the symbol of the soul; it is the soul itself, the bell-soul.” 68
It is tempting to define “To Louis B.” as the “base poem” (本歌: honka) on which
Bansui builds his own poetic meditation, in the same sense that a poem from the
Shinkokinshū (新古今和歌集, compiled 1205) era might build on a Kokinshū (古今和歌
集, compiled ca. 905) poem. Indeed, the historical endorsement of the practice must be
considered when interpreting the intertextual tactics of shintaishi poets. Poets like
Bansui and Tōson who sought inspiration in modern poetry from the West were not
really breaking with Japanese tradition; rather, they were expanding what it meant to be
literate in poetry by seeking cultural currency on a new international exchange. Yet a
long poem like “Evening Bell” cannot have the same effect on the reader by
incorporating a long honka like “To Louis B.” First, in the waka tradition, the brevity of
both the honka and the new poem leaves the intertextual relation more potent and
suggestive. Second, few readers of “Evening Bell” would have been able to recognize or
understand the significance of the original. Thus, instead of extending the shared
patrimony of literati, the poem only displays the poet’s mastery, to the detriment of the
67
Partout des mots impurs creusés dans le métal
Rompaient l'inscription du baptême natal.
On distinguait encore, au sommet ciselée,
Une couronne à coups de couteau mutilée.
Chacun, sur cet airain par Dieu même animé,
Avait fait son sillon où rien n'avait germé!
68
Albouy also reminds us that Hugo wrote often of church bells. Pierre Albouy, in
Victor Hugo, Œuvres poétiques, 1453-1454.
140
reader. The appearance of such a display was the price a poet like Bansui had to pay to
take poetry in a new direction. 69
“Evening Bell” opens with a series of images that demonstrate the reach of the
sound of the bell:
The bird in evening’s forest roost,
森のねぐらに夕鳥を
The traveler in the foothill village,
麓の里に旅人を
The body in the silent grave,
靜けき墓になきがらを
The spirits70 in the dark of dream paths—
夢路の暗にあめつちを
Ring and deliver them, evening bell!
送りて響け暮の鐘。
The bell tolls to mark not only the end of day, but also the end of deeper time,
generations or ages:
Spring’s hillside petal showers it beckons,
春千山の花ふゞき
And pattering rain on autumn leaves;
秋落葉の雨の音
In concert with the winds of hell 71
誘ふて世々の夕まぐれ
It tolls the twilight of the ages.
劫風ともに鳴りやまず。
Bansui then echoes the first line of the epigraph from Hugo above. Bansui’s line implies
a copula—the echo of heaven is the cry of the earth, while Hugo’s more explicitly shows
the spatial relationship of heaven and earth. With its symbolic representation of the
passage of time, the bell summons varying emotions relating to past and future:
Echo of heaven, cry of earth,
天の返響地の叫び
69
At the same time, it is the reward for sophisticated readers who recognize or hunt
down those meanings.
70
Spirits (あめつち: ametsuchi): literally, “heaven and earth,” that is, the universe, but
also shorthand for “the spirits of heaven and earth.”
71
Winds of hell (劫風: gōfū): a Buddhist term.
141
Sound of spite or sound of comfort,
恨の聲か慰めか
Sorrow for the pain of what has passed,
過ぐるを傷む悲みか
Or joy that beckons what may come,
來るを招く喜びか
Warning of impermanence,
無常をさとすいましめか
Or chanting voice proclaiming hope?
望を告ぐる法音か。
When at parting sleeves are heavy
友高樓のおばしまに
At the gate of friendship’s palace,
別れの袂重きとき
When reminiscences lie thick
露荒凉の城あとに
In bleak dew midst the castle ruins,
懷古の思しげきとき
When thinking of the formless sky
聖者靜けき窓の戸に
The saint 72 is silent at the window—
無象の天を思ふとき
Raising its voice to the sky
大空高く聲あげて
Now sounds the evening bell.
今はと叫ぶ暮の鐘。
Bansui then catalogues the changing places and moods over which the bell
resounds. Here his poem resembles Hugo’s “To Louis B.” The language is full of
repetitions and paired words. The repetitions echo as if imitating the tolling of the bell.
The paired words range from clear opposites (“sadness, tears, and suffering” are
opposed to “laughter, pleasure, and delight”) to more provocative juxtapositions.
“Grief” and “death” are paired with “poetry” and “music” (written with the character for
“joy”). Poetry and music are meant to be heard. The flowers of city boulevards are
echoed in the foam of the rocky shore. The most poignant pairing is of sound with
silence: the “innocent ears of children” with “mute beds of mounded earth.” Whatever
wisdom the dead under mounds of earth might have to pass to the innocent children, it
72
Saint (聖者: shōja): Though the term is also used for Buddhist and Christian saints,
Kubo believes this refers to Plato. Kubo, Doi Bansui, 177.
142
is left to the bell to deliver. These mounds become the vessels in which the evening bell
echoes, and their emptiness pronounces the death of their inhabitants. Hugo’s “vase full
of murmurs” thus “empties itself” not only “in the air” but in the soil.
Where people dwell and where they go,
人住むところ行くところ
Where there is grief and there is death,
嘆と死とのあるところ
Where there is poetry and music,
歌と樂とのあるところ
Where sadness, tears, and suffering,
涙、悲み、憂きなやみ
Laughter, pleasure, and delight
笑、喜び、たのしみと
Pass from one on to the next.
互に移りゆくところ、
On city boulevards with flowers,
都大路の花のかげ
In villages beneath thick clouds,
白雲深き鄙の里
On rocky shores beset with foam;
白波寄する荒磯邊、
In the innocent ears of children,
無心の穉子の耳にしも
And on mute beds of mounded earth,
無聲の塚の床にしも
The evening bell resounds alike.
等しく響く暮の鐘。
Returning from the extended pursuit of all the places the bell’s sound reaches, the
poem then retreats into a pair of short, contemplative stanzas, each of which resembles
a classical tanka in its content: an opening observation of a moment, followed by the
reflection of internal moods related to that observation.
73
On a hill, recalling to mind 73
雲飄揚の身はひとり
The lone flank of a wafting cloud
五城樓下の春遠く
That wandered over the city skies
都の空にさすらへつ
On a hill, recalling to mind (思しのぶが岡の上: omoi shinobu ga oka no ue): This is a
wordplay combining omoi shinobu (“recall to mind”) and Shinobugaoka (the hill on
which Tokyo’s Ueno Park stands). Kubo, Doi Bansui, 178.
143
Far from the springtime in the castle town, 74
思しのぶが岡の上
I, too, hear the evening bell.
われも夕の鐘を聞く。
As crows gather in yonder woods
鐘の響きに夕がらす
Amid the setting sun’s soft light,
入日名殘の影薄き
At the tolling of the bell
あなたの森にゐるがごと
My thoughts rise up
むらがりたちて淀みなく
And flock together restlessly.
そゞろに起るわが思ひ。
In a mood reminiscent of the conclusion to “Evening Thoughts” above, the speaker
engages in a dialogue with the phenomenal world. Once the din of the world fades
away, the bell will carry the sound of a noble, ideal spirit.
Reverberations shake again
靜まり返る大ぞらの
The waves of the once hushed sky
波をふたゝびゆるがして
And resound from cloud to cloud,
雲より雲にどよみゆく
To die out faintly, far away
餘韻かすかに程遠く
From the ears of the floating world;
浮世の耳に絶ゆるとも
Yet know outside the formless heavens,
しるや無象の天の外
Hearing this world’s babbling dreams
下界の夢のうはごとを
In the echoes of the bell,
名殘の鐘にきゝとらん
A high and noble spirit exists.
高き、尊き靈ありと。
The speaker then tries to converse with the bell and interpret its message. He thinks he
hears an earthly soul calling out to him, yet this does not resolve his confusion of hope
and despair.
74
Do you climb an eternal throne,
天使の群をかきわけて
Weaving through a crowd of angels?
昇りも行くか「無限」の座
Castle town (五城楼下: gojōrōka): literally, “the watchtower of the five castles,” that
is, Sendai. Kubo gives a Tang poem as the source of this epithet for Sendai. Kubo, Doi
Bansui, 128-129.
144
75
O bell, what is it you cry out
鐘よ、光の門の戸に
Through the gates of light?75
何とかなれの叫ぶらむ、
That darkness of this world is deep,
下界の暗は厚うして
And sorrows of saints never cease—
聖者の憂絶えずとか
That flowers of this world are fragile,
浮世の花は脆うして
And tears of poets never dry?
詩人の涙涸れずとか。
A long, faint, and distant sound
長く、かすけく、また遠く
Even now keeps calling out—
今はたつゞく一ひゞき
Does some voice of an earthly soul
呼ぶか閻浮の魂の聲
Cry out from the eternal depth?—
かの永劫の深みより、
“I, too, have floated on a boat
「われも浮世のあらし吹く
Tossed by tempests of this world,
波間にうきし一葉舟
And with the port of spring so distant
入江の春は遠くして
I sank halfway along the voyage.”
舟路半ばに沈みぬ」と。
Do not bemoan the world’s bleak fate.
恨みなはてぞ世の運命、
Pulling the infinite future behind me
無限の未來後にひき
And seeing the infinite past ahead,
無限の過去を前に見て
I am doubtful here and now,
我いまこゝに惑あり
I am hopeful here and now.
はたいまこゝに望あり、
Laughter, pleasure, suffering,
笑、たのしみ、うきなやみ
Light and darkness weave together;
暗と光と織りなして
And so the evening bell might chime
歌ふ浮世の一ふしも
A melody of this floating world.
いざ響かせむ暮の鐘、
Thus the thoughts of foregone souls
先だつ魂に、來ん魂に
Blend with thoughts of souls to come,
かくて思をかはしつゝ
Gates of light (光の門の戸: hikari no mon no to): Kubo cites the beginning of Book III
of Paradise Lost, the relevant part of which follows: “till morn, / Waked by the circling
hours, with rosy hand / Unbarred the gates of light” (lines 2-4). In spite of the tenuous
contextual connection, the imagery of heaven’s “gates of light” could indeed come from
this passage. Kubo, Doi Bansui, 179.
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Connecting wellspring to the sea
流一筋大川の
In one great flowing river.
泉と海とつなぐごと。
The storm at dusk blows from the east,
吹くや東の夕あらし
The waves of western clouds approach;
寄するや西の雲の波
Often gathering in this hollow
かの中空に集りて
They say nothing to each other;
しばしは共に言もなし
When the two part once again,
ふたつ再び別るとき
Perhaps the storm will cry out, “Secret!”
「秘密」と彼も叫ぶらむ。
How often have I laughed to think
人生、理想、はた秘密
That human lives, ideals, and secrets
詩人の夢よ、迷よと
Are the poet’s dreams and fancies!
我笑ひしも幾たびか、
As the wishing star vanishes
まひるの光りかゞやきて
In the radiant midday light,
望の星の消ゆるごと
The floating world is cloaked in dust—
浮世の塵にまみれては
I know not what is sin or filth.
罪か濁世かわれ知らず。
Ringing out at every nightfall
其塵深き人の世の
Through the dust-deep world of men,
夕暮ごとに聲あげて
The evening bell tolls of a world
無限永劫神の世を
Of infinite, eternal gods;
警しめ告ぐる鐘の音、
Can it summon tears of passion
源流すでに遠くして
As it gives its wordless sermon
濁波を揚ぐる末の世に
To a world awash in filth
無言の教宣りつゝも
And distant from its headwaters?
有情の涙誘へるか。
Bansui geographically synthesizes East and West while religiously synthesizing
Buddhism and Christianity. First, he cites an early example of the symbolism of a
temple bell: the Gion temple bell in India, which is famous in Japan for tolling the
impermanence of all things in the opening lines of The Tale of the Heike (平家物語:
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Heike monogatari). 76 The Gion temple is then paired with the tower of Saint Sophia,
which could be one of any number of churches in eastern Europe but may refer to the
Hagia Sophia in Istanbul. The evening bell is neither of these, but instead an ideal bell
not to be found anywhere in particular. After all, it is not the bell itself that catches
attention, but the sound coming from it that permeates the world. (Compare this to
Hugo’s “To Louis B.,” in which the bell is the voyager’s destination, and thus described
in detail.) The religious traditions are then practically united in the phrase “Vulture
Peak and the Mount of Olives” (霊鷲橄欖: ryōjukanran). Vulture Peak, in central India,
is said to be where Gautama Buddha preached the Heart Sutra and the Lotus Sutra to
his disciples. The Mount of Olives, in Jerusalem, is said to be where Jesus Christ taught
his disciples and later ascended to heaven.
The eaves of Gion Temple rot,
園精舍の檐朽ちて
Where only liquor’s stench wafts up;
葷酒の香のみ高くとも
The tower of Saint Sophia crumbles,
セント、ソヒヤの塔荒れて
While gospels flatter vulgar folk.
福音俗に媚ぶるとも
Listen! Within the evening bell
聞けや夕の鐘のうち
The great and venerable way
靈鷲橄欖いにしへの
Of Vulture Peak and the Mount of Olives!
高き、尊き法の聲。
76
The Tale of the Heike begins, “In the tolling of the Gion Temple bell, there are echoes
of the impermanence of all things” ( 園精舎の鐘の声、諸行無常の響きあり: Gion
shōja no kane no koe, shogyō mujō no hibiki ari). The opening paragraphs of The Tale
of the Heike also synthesize the known geography of the time as lessons from Buddhism
and Confucianism: first the temple bell in India, then the fall of Chinese rulers, and
finally the introduction of Taira no Kiyomori’s (平清盛, 1118-81) rule.
147
At twilight, rife with nature’s feelings, 77
天地有情の夕まぐれ
No traces of the phoenix tower
わが驂鸞の夢さめて
When I wake from dreams of glory;
鳳樓いつか跡もなく
The flower, its scent, the evening moon—
花もにほひも夕月も
How fragile is this springtime world!
うつゝは脆き春の世や
The mists atop the mountain lift,
岑上の霞たちきりて
And though the sleeves of fairies’ robes
縫へる仙女の綾ごろも
Are left embittered by the storm,
袖にあらしはつらくとも
A musical sound faintly rings
「自然」の胸をゆるがして
And stirs the bosom of Nature—
響く微妙の樂の聲
That one sound is here at hand.
その一音はこゝにあり。
As in “The Universe and the Poet,” Bansui ends with the direct invocation of ideals. But
rather than being “overwhelmed”—also translatable as “intoxicated”—“By a dream of
high ideals,” here the bell has a sobering effect on those too moved by flowers and stars:
Heaven’s majesty, earth’s beauty,
天の莊嚴地の美麗
Flowers fragrant, stars atwinkle—
花かんばしく星てりて
The skill of Nature changes not,
「自然」のたくみ替らねど
But troubles are constant in this world.
わづらひ世々に絶えずして
When dreams of ideals disappear,
理想の夢の消ゆるまは
Ring evermore, unceasingly,
たえずも響けとこしへに
Uniting earth’s and heaven’s sounds,
地籟天籟身に兼ぬる
Voice of the bell at sunset!
ゆふ入相の鐘の聲。
As in “Evening Thoughts,” the poet seeks a balance between the real and the ideal,
77
Nature’s feelings (天地有情: Tenchi ujō): This is the proximate source of the title of
Bansui’s poetry collection. Bansui’s own source for this phrase is unclear, although it
appears in a poem from Mori Ōgai’s (森鴎外, 1861-1922) 1889 collection Vestiges (於母
影: Omokage). The four characters of this phrase have emphasis marks next to them in
the original; I have underlined them here.
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though here the real is understood to be a process of changing ideals. The bell is the
symbol that unites the two, even though it is just an echo of both.
Finally, to incorporate our discussion of kage into the idealistic use of structure,
there is a “shadow” in the title Tenchi ujō. That shadow takes the formless form of a
missing complement. “Heaven” and “earth” complement each other, but in the
predicate “feelings” stands alone. One possible complement of “feelings” (or “passion”)
is “reason” (理: ri). Reason stands as a counterbalance to passion. Moreover, the
shadowy reason absent from the title recommends itself in the term tenri (天理:
literally, heaven’s reason or law), a term current in the Meiji period that refers to
“nature” in its sense of “the order of the universe.” Does the absence of “reason” in the
title suggest that heaven and earth do not have reason? It is not that tenchi ujō implies a
denial of a natural order of things, but that an informed reading of that phrase ought to
interpret the significance of “nature’s feelings” in part by appreciating the contrast with
“nature’s reason.” At least, that is what we might expect of the ideal reader, a shadowy
figure who has receded into the past with Bansui.
Conclusion: Idealized Nature, Not Naturalism
Gregory Golley writes, in his book on Japanese literary modernism, “Within a
generation, written language had come to be understood, above all, as a tool for
expressing interior states or for representing external reality.” 78 Bansui emphatically
78
Gregory Golley, When Our Eyes No Longer See: Realism, Science, and Ecology in
Japanese Literary Modernism (Cambridge: Harvard University Asia Center: 2008), 55;
emphasis in original.
149
does not go in this direction, and instead he embraces idealized language for
transcendental experience. His poems are thoroughly idealistic and build on allusions
to history and other great poets. Bansui uses general or universal archetypes, such as a
grave, darkness, or storms. The descriptions are rarely precise or uniquely defining.
When he does point to specific places, they are usually famous, such as Kunlun or the
Rhine. They remain vague enough in their material description that their literary force
must do the work. The misty hills of Yoshino are not portrayed with enough specificity
to overcome or overpower the intertextual force. Not only does he continue to idealize
“nature,” but he expands and layers his descriptions with historical and literary
allusions.
In doing so, Bansui tries to take long flights “through the immeasurable all.” But
in “The Universe and the Poet,” he ironically distances himself from the direct poetic
experience, instead calling on the insights of other poets, the way Lucretius calls on
Epicurus for his insights. Bansui populates his poems with portions of other texts, or
even just allusions to other texts. He also uses direct and indirect references to the poets
themselves in his own poems. Perhaps, then, we should say that Bansui has traveled
through the immensity of poetic artifact, not nature. These poetic artifacts are poetic
ideals for Bansui. By leaving traces of other poets’ works in his own poems, Bansui
invites his Japanese readers at the end of the nineteenth century to venture through the
immensity of poetic artifact themselves—an immensity expanded beyond anything they
had had access to before. But his vision of poetry is not simply to cobble together the
best of the past from its diverse sources; instead, his work speaks passionately to the
agglomerative role of each new poet in illuminating the human condition.
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The effect is that tropes and allusions become twice removed from naturalistic
description: first as idealized vision, then as idealization of poetic perception and
description of phenomena. Based on this, we might say that Bansui was unusually selfconscious of the irony of the medium and his practice of it. The irony here involves the
not saying, the absent, and even intertextual allusions (as those allusions are capacious
carriers of irony and contradiction). Irony, like absence, increases with structural
assistance. That structural assistance can be in the poem’s form, or in the rhetorical
canopy provided by the content (such as intertextual allusions). The form and the
content (should we feel obliged to list them separately) cooperate to give us
miscommunication, paradox, contradictions, lacunae, multiplicity, and heteroglossia.
We are therefore left with a palimpsest of styles of varying provenance. In such
variation itself there is irony, all the more so in the case of poetry that is exalted as direct
transcription of observation or of unmediated emotion.
Bansui thus uses allusion in the service of idealism. Allusion to other texts or
experiences evinces the primacy of idea over observation, as the poet recalls similar
circumstances or the same place. Even the famous “Moon Over the Castle Ruins” has
this as its main feature: the castle is not what it was, it lacks something it had long ago.
The text supplies a presence for what is absent, a presence of absence. Kage and echoes,
Bansui’s quintessential visual and auditory textual markers of absence, are especially
powerful rhetorical tools for portraying the mediation of nature by texts, intertexts, and
ideals.
The mediation of other poets’ words, other poets’ inspiration and imagination,
brings to the fore the use of language itself in its structural sense of difference. So much
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for some putative “privileged access to nature” of the poet. Nature is itself a mere kage.
Ironically, then, it is language itself, the mediating tool between subject and object,
between textual artifact and reader, signifying anything but full of only difference itself,
that Bansui exalts as the universal, lasting treasure of humanity in the floating world.
By invoking other poets, Bansui takes the role of an ideal reader, not an ideal poet,
reflecting what light he can for fellow readers in the shadows.
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CHAPTER THREE: TANGLED KAMI: YOSANO AKIKO’S
SUPERNATURAL SYMBOLISM1
Virtue, on the contrary, is artificial and supernatural, since gods and
prophets were necessary in every epoch and every nation, to teach virtue
to bestial humanity, and man alone would have been powerless to discover
it. Evil is done effortlessly, and naturally, by fate; the good is always the
product of some art.
—Charles Baudelaire, “In Praise of Make-Up” 2
Of good and evil
よしあしは
ask the person
後の岸の
on the farther shore—
人にとへ
As for me, I ride
われは颶風に
and frolic on the stormy wind
のりて遊べり
—Yosano Akiko, Waves of the Blue Sea3
My goal in this chapter is to contribute to our understanding of how Yosano Akiko’s (与
謝野晶子, 1878-1942) first poetry collection, Tangled Hair (みだれ髪: Midaregami,
1901), stimulated and confused readers, by focusing on one of the most significant, and
largely overlooked, patterns in Tangled Hair: the presence of supernatural figures,
1
Midaregami, the title of Yosano Akiko’s first poetry collection, means “tangled hair,”
but by replacing the character for “hair” (髪: kami) with the character for “god/
divinity” (神: kami), we get a homophone meaning “tangled gods.”
2
“Eloge du maquillage,” in Flowers of Evil and Other Works / Les Fleurs du mal et
œuvres choisies: A Bantam Dual-Language Book, translated and edited by Wallace
Fowlie (NY: Bantam Books, 1964), 201. Emphasis in original.
3
青海波: Seigaiha, 1912.
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symbols, and concepts. Approximately one-fourth of the 399 tanka contain references
to divinities, sin, shrines, priests, or religious texts; those references may be Buddhist,
Shinto, or Christian—it is not always clear which. At the same time, the religion remains
abstract: sutras stand for traditional values and wisdom, but nothing more specific;
sensuality is sinful, but the reasons for this are unexpressed. The references to religious
sources of morality and wisdom stand out even more in the collection because their
newness, ambiguity, and sometimes even obscurity resist easy interpretation. They are
a large part of what is new, and therefore what is difficult, about Tangled Hair. Thus,
any thorough examination of the poems must account for, or at least acknowledge, the
presence of these stumbling blocks.
Of course, sex and the supernatural are a fraught combination. It is not just the
sex in Akiko’s poems, although they certainly are more explicit than their precursors; it
is particularly the investment of supernatural, religious, and moral meanings in matters
of sex that causes the spark to ignite in the reception of these poems. The poems stand
both sexual and religious mores on their heads. Carnal desire is more than just physical;
it is spiritual, and it is augmented by the multiple, tangled religious associations to
which the individual tanka of Tangled Hair commit to different degrees. Religious
practice, meanwhile, does not ignore the physical component; if ascetic practice can be
spiritually enlightening, then how much more enlightening can sexual awakening be!
Poetic conjurings of the supernatural provide a valuable window onto poetic
ideals of nature. The supernatural is not simply that which is above or beyond nature;
rather, it is a means of establishing the normative boundaries of nature as a discursive
category. Nature, meanwhile, is a category that can be summoned as evidence of a
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metaphysical order. Therefore, when Akiko tests the limits of traditional mores and
traditional poetic practice with her multifaceted, ambiguous, and contradictory use of
supernatural symbols, she undermines both nature and the supernatural, and this
introduces an ironic critique of those categories.
Akiko expands the scope of what her tanka can do by creating friction between
her religious metaphors and her sensuous descriptions, but this is not to say that her
poems, even those poems loaded with religious terms and ideas, are what we might call
religious poems. For this reason, it seems wise to distinguish them as supernatural
rather than religious, though of course there is often overlap. 4 Consider T. S. Eliot’s
distinction on religion in literature: “For the great majority of people who love poetry,”
he writes, “‘religious poetry’ is a variety of minor poetry: the religious poet is not a poet
who is treating the whole subject matter of poetry in a religious spirit, but a poet who is
dealing with a confined part of this subject matter: who is leaving out what men
consider their major passions, and thereby confessing his ignorance of them.” 5 For
Akiko, religious poetry might have seemed an impossible categorical distinction, outside
4
The English “supernatural” is not meant to translate the Japanese 超自然的
(chōshizenteki) or any other word, but simply serves as a more malleable term for the
metaphysical, religious, or fantastic.
5
T. S. Eliot, “Religion and Literature,” in Selected Essays, new edition (Harcourt Brace
Jovanovich, 1932); reprinted in Religion and Modern Literature: Essays in Theory and
Criticism, edited by G. B. Tennyson and Edward E. Ericson, Jr. (Grand Rapids, MI:
William B. Eerdmans, 1975), 22-23. Emphasis in original.
155
the genre of freshly translated lyrics to Christian hymns. 6 Akiko’s poems do not confine
themselves to religious themes, but rather use a variety of religious tropes, from a
variety of religious traditions, to aim directly at men’s and women’s major passions. By
far the most common of the many signs is kami (神: deity or spirit): the term appears in
nearly half of the Tangled Hair poems with supernatural symbolism, and this chapter
examines her problematic use of the term. To preserve the ambiguity of the term kami,
I have left it untranslated. The other terms highlighted in this study are risō (理想:
ideal) and tsumi (罪: sin). Together, the diverse spiritual interlocutors, intangible
ideals, and actions and passions marked as sinful pull the reader in multiple
metaphysical and intertextual directions. Like Shimazaki Tōson and Doi Bansui, then,
Akiko enriches her poetry with anti-realist, allusive verses. Unlike their poems,
however, Akiko’s brief tanka ecstatically contradict each other and leave readers with
riddles unanswered.
Supernatural Obstacles and Outlets
The Tangled Hair poems achieve extra resonance by creating linguistic and
interpretative obstacles while dismissing the traditional and moral obstacles. They force
6
As Kiyomi Morioka reminds us, it was only in 1900—the same year in which the
Tangled Hair poems began appearing—that Anesaki Masaharu (姉崎正治, 1873-1949)
first used the term “sociology of religion” in Japan. The sociology of religion indicates a
more scientific approach that tries to distance itself from its object of study. To lack this
self-consciousness is in fact to allow supernatural power to flow through the poems. It
may also account for why the supernatural aspects of the poems have so far been mostly
overlooked. Kiyomi Morioka, Religion in Changing Japanese Society (Tokyo:
University of Tokyo Press, 1975), 171.
156
readers, then, to share in the enjoyment and anxieties of the poetic subject’s moral
transgression. The building up and breaking down of obstacles, which the speaker and
the readers must then transgress in their different capacities, contribute to a tangled
effect. But the distinction must be made that the resulting confusion (phenomenological
uncertainty, moral judgment) primarily rests with the reader, and not with the speaker,
much less with the biographical author, Akiko herself. The complete poetry collection,
meanwhile, presents an appearance of unity that is itself an obstacle to understanding
the disunity of the poems. I shall therefore address in the present chapter both the
obstacles to interpretation that biographical criticism presents and the obstacles of
coherence that the poetry collection as a whole creates. 7
From a utilitarian perspective, meanwhile, the prevalence of religious and
supernatural symbols plays an important role in giving depth to verses of limited
syllables. If stale tropes and allusions are to be jettisoned—along with the classical
education readers once needed to appreciate them—then tanka must either inject new
figurative language or be stripped down to pithy models of understatement. The latter
is what Masaoka Shiki (正岡子規, 1867-1902) embraced in his “sketching from life” (写
生: shasei) method, by which he removed traditional obstacles without erecting new
ones. For this reason, I have found that his poems require far less intervention for
today’s American readers.
7
Single-author poetry collections, which began to enjoy a boom in publishing in the late
1890s, replacing the multiple-author works of the previous two decades, foregrounded
their authors and gave the collections an impression of unity of conception inseparable
from the individual poems. This is in spite of the fact that all of the major works
contained poems that had previously been published, either singly or in groups, in
magazines and newspapers.
157
Scholars have mostly passed over Tangled Hair’s supernatural references,
apparently because Akiko herself was not religious, and biographical explanations
would not be able to account for them. 8 In addressing this paradox, I shall also draw on
facts and circumstances of Akiko’s life, facts that it would be foolish of me to renounce
in a narrow adherence to the death of the author. Yet while my analysis stems from the
seeming contradictions of Akiko’s biography and poetry—or, more accurately, from the
gap left by scholars who avoid addressing the contradiction—the analysis itself does not
depend on these facts and circumstances.
Surrounding the facts and circumstances of Akiko’s life, and important to our
treatment of the supernatural symbols in her poetry, is the swelling influence of
Christianity, especially among writers and educators in the Meiji period (1868-1912).
Women’s rights and education were pushed to the foreground in significant measure by
Christian reformers like Iwamoto Yoshiharu (巌本善治, 1863-1942), who helped found
Women’s Learning Magazine (女学雑誌: Jogaku zasshi) in 1885. The Literary World
(文学界: Bungakkai) group that split off from it in 1893 was also largely Christian,
including members such as Kitamura Tōkoku (北村透谷, 1868-94) Shimazaki Tōson (島
崎藤村, 1872-1943), and Hirata Tokuboku (平田禿木, 1873-1943). In debates over how
Japan ought to modernize and how gender roles ought to change, Christianity was seen
to “safely” circumscribe the roles of women in a modernizing society. As Rebecca L.
8
Akiko had an interest in the Bible and Christian hymns when she was fourteen or
fifteen, and her mother was a devout Buddhist. She herself never shared any of these
beliefs. Itsumi Kumi, Midaregami zenshaku (Complete interpretation of Tangled Hair)
(Ōfūsha, 1978), 189.
158
Copeland maintains, the conversion and Christian education of women was considered
crucial to combatting “what these missionaries perceived as the nation’s immorality,
namely sexual promiscuity, prostitution, and concubinage.” 9 At the same time,
Christianity played a progressive role by championing some limited emancipation for
women, and this is in large measure related to the idealized discourse of love.
Ren’ai
Love as a discursive construct underwent significant changes in the Meiji period.
I resist the notion that because the phrase ren’ai (恋愛: love) only came into common
usage in the Meiji period, no such feeling or concept existed in Japan until then. What
is worth noting is that when the discourse—and vocabulary—on love did begin to
fluctuate in the early Meiji period, religious ideals played a significant role, especially
the moral and metaphysical attributes of love linked to Buddhist and Christian beliefs.
Before Christianity arrived, however, as Janet A. Walker writes,
In Japan it was Buddhism that attempted to civilize and in a sense defuse
the demonic power of love, by characterizing it as a dangerous “darkness
of the heart” (kokoro no yami). . . .Heian poets, however, often seemed to
hold an opposing view: that the experience of love, by its very intensity,
causes the lover to reject the Buddhist designation of enlightenment as
positive “reality” and love as negative “attachment” or “appearance,” and
to posit the dreamlike, blissful experience of love as the highest, indeed the
only, reality. 10
With the Meiji Restoration of 1868 came increased enthusiasm for translations of
9
Rebecca L. Copeland, Lost Leaves: Women Writers of Meiji Japan (Honolulu:
University of Hawai‘i Press, 2000), 11.
10
Janet A. Walker, “Conventions of Love Poetry in Japan and the West,” The Journal of
the Association of Teachers of Japanese 14:1 (April 1979): 31-32.
159
Western works, but, as Yanabu Akira points out, love was not a prominent theme in
early translated works. In that “masculine era” of the late-Tokugawa and early-Meiji
periods, when men were mostly concerned with building a nation, as Yanabu describes
it, the few novels that were introduced were adventure novels like Robinson Crusoe and
political novels. 11
“For many Japanese writers,” though, as Indra Levy writes, “the discourse of love
was one of the most radical and exciting aspects of modern Western literature.” 12 That
discourse extended to “religious, ethical, and literary ideas embedded in the Western
sign of love”—translated as ren’ai—that could not be conveyed with the terms iro (色) or
koi (恋), which according to Levy “do not assume a division between body and soul.”
Eventually iro came to be associated with physical desire, and koi came to be a synonym
for ren’ai. 13
Yanabu traces the word ren’ai to foreign-language dictionaries such as an
English-Chinese character dictionary of 1847-48, but he finds its first use as a
translation word by Nakamura Masanao (中村正直, 1832-91), in his 1870-71 translation
of Samuel Smiles’s (1812-1904) 1859 work Self-Help. 14 The use of the word ren’ai did
not become widespread, however, until Iwamoto’s 1890 review of a translation of
11
Yanabu Akira, Hon’yakugo seiritsu jijō (How words have come to be translated)
(Tokyo: Iwanami shoten, 1982), 96.
12
Indra Levy, Sirens of the Western Shore: The Westernesque Femme Fatale,
Translation, and Vernacular Style in Modern Japanese Literature (New York:
Columbia University Press, 2006), 134.
13
Levy, 134.
14
Yanabu, 90-91.
160
Honoré de Balzac’s (1799-1850) The Lily of the Valley (Le Lys dans la vallée, 1835).
Iwamoto’s review helped confer on ren’ai the sense “to love from deep within the
soul” (深く魂 [ソウル] より愛する: fukaku souru yori ai suru), appropriately chosen
instead of a “common Japanese word full of impure associations” (不潔の連関 [アッソシ
エーション] に富める日本通俗の文字: fuketsu no assoshieeshon ni tomeru Nihon
tsūzoku no moji). 15 Levy concurs that the “spiritual aspect [of the term love] was given
primary emphasis in the process of translation into Japanese.” 16 From then on,
Christian ideals of spiritual love became prominent. The Christian writers Iwamoto and
Yamaji Aizan (山路愛山, 1865-1917) engaged in a debate over the proper place of
romantic love. Aizan appealed to ren’ai in “The Philosophy of Love” (恋愛の哲学: Ren’ai
no tetsugaku), an essay published in Women’s Learning Magazine in 1890: “Ah, love,
that causes a revolution in people’s spirits [心霊: shinrei] and bodies!” and, folding that
love into the discourse of the family-state: “Love, that binds the family and solidifies the
state!” 17 In a subsequent essay called “Anti-love” (非恋愛: Hi-ren’ai), however, Aizan
claimed that love was incompatible with great achievement. 18 Iwamoto, on the other
15
Yanabu, 95-96.
16
Levy, 134.
17
Yamaji Aizan, “Ren’ai no tetsugaku” (The philosophy of love), Jogaku zasshi
(Women’s learning magazine), no. 240 (Nov. 20, 1890); quoted in Kōno Kensuke, “Joshi
kyōiku to Wakanashū: Ren’ai no seijigaku” (Girls’ education and Seedlings: The
political science of love), Nenkan Nihon no bungaku (Studies in Japanese literature),
vol. 2 (Dec. 1993), 29.
18
Yamaji, quoted in Kōno, 29.
161
hand, defended love as something “sacred” (神聖: shinsei) based on mutual respect
between equal partners. 19
These debates provide the necessary context to Kitamura Tōkoku’s epoch-making
essay “Pessimistic Poets and Women” (厭世詩家と女性: Ensei shika to josei), which was
published in two issues of Women’s Learning Magazine in February 1892. 20 Tōkoku
argues in that essay that love is a beacon for the idealist, but that in embracing love the
idealist finds himself (for it seems that to Tōkoku that idealist, a poet, is always male,
while his object of love is always female) imprisoned by duty and inevitably drawn to
despair. Francis Mathy judges that this article is full of contradictions that Tōkoku does
not try to reconcile. Mathy writes, “Love is praised as that which gives entry into
humanity, which leads to knowledge of self, of nature, of society, and—implied at least—
of something beyond. Yet by the time he finishes his essay, love has emerged as a villain
at the service of an iniquitous reality.” 21 Even the more idealistic kind of spiritual or
mental love, therefore, is not an unqualified good beside its sullied carnal counterpart.
Such contradictory incarnations of love provided expanses for literary
exploration. Levy notes that the centrality of romantic love
19
Iwamoto, quoted in Kōno, 29. But as Rebecca L. Copeland points out, Iwamoto was
not consistent in calling for women’s equality. While he sometimes exalted women’s
virtues and powers of observation, which were assets to a writer, at other times he
criticized their meddling in public affairs. See Copeland, Lost Leaves: Women Writers
of Meiji Japan (Honolulu: University of Hawai‘i Press, 2000), esp. 31-42.
20
Kitamura Tōkoku, “Ensei shika to josei” (Pessimistic poets and women), reprinted in
Tōkoku zenshū (Tōkoku’s complete works), vol. 1 (Tokyo: Iwanami shoten, 1950),
254-264.
21
Francis Mathy, “Kitamura Tōkoku: The Early Years,” Monumenta Nipponica 18:1
(1963), 42.
162
virtually necessitated the presence of the Westernesque woman in works
written by self-consciously modern male writers. . . .To be more than a
distant object of passive contemplation. . .such a woman would have to be
conversant in the semiforeign language of love; hence, she would have to
be either Christian or familiar with modern literary and intellectual
discourse or both. 22
But what of the actual women writers and readers who loved? Mara Patessio
describes the danger thought to exist for impressionable young women who might read
romantic novels. In this view, “even those that were considered good novels were really
not good at all,” Patessio writes, “for girl readers could not comprehend the beauty of a
literary work and what remained in their brains after reading them was only the concept
of ‘love.’” 23 It is unfortunate that Patessio’s analysis does not explicitly include romantic
poetry; that might have helped tease out different effects of plot and character
development that tanka lack. She does, however, quote a remembrance by a woman of
the Meiji generation who said that Alfred Tennyson’s (1809-92) Enoch Arden was a
“hero” to her and her classmates. 24 The hero of the long narrative poem “Enoch Arden”
is as nearly antithetical to the Byronic hero as can be; both Enoch and his wife Annie are
models of piety, devotion, and reserve. It is precisely these qualities that make the poem
so sentimental, though.
Around the time that Akiko’s tanka began appearing in print—in the same
22
Levy, 141-42.
23
Mara Patessio, “Readers and Writers: Japanese Women and Magazines in the Late
Nineteenth Century,” in The Female as Subject: Reading and Writing in Early Modern
Japan, edited by P. F. Kornicki, Mara Patessio, and G. G. Rowley (Ann Arbor: Center for
Japanese Studies, University of Michigan, 2010), 200.
24
“Enoch Arden” was translated into Japanese by Wakamatsu Shizuko (若松賤子,
1864-96) and serialized in Women’s Learning Magazine in 1890. Patessio, 201.
163
magazine, in fact—another source of sexual controversy tinged with foreign themes
stirred up readers: the publication of nude drawings in Morning Star. Jay Rubin
asserts, “The November 1900 issue of the literary magazine Myōjō was banned—not for
the hot-blooded poems of Yosano (then Tōtori) Akiko, as might have been expected, but
for two nude line drawings taken from French originals.” 25 The drawings in that banned
issue had appeared with a commentary by Yosano Tekkan (与謝野鉄幹, 1873-1935) and
Ueda Bin (上田敏, 1874-1916) on an art exhibition, in which Bin remarked that artists
were now trying to go beyond classical studies of form to capture the “inner spirit” of
their subjects, and that “Japanese society is simply not ready for that sort of thing.” 26
Then, in the next month’s installment of Morning Star, Tekkan responded to the ban
with the argument that more exposure to Western art would help the Japanese public
refine their taste and come to accept the kind of art printed in the magazine.27 In other
words, the sort of Western culture on display in its nudes was one whose nudity and
spiritedness would not place viewers in danger of falling into uncontrolled sensuality.
Such an argument, while not effective at preventing the banning of the issue, stands on a
prejudice: not that the West’s Christianity preserved the chastity and virtue of its
figures, clothed or not; but that the embrace of Western art corresponded to highbrow,
refined tastes. Somehow, then, it seems that the higher-class importation of
Christianity allowed a pass on transgression and the emancipatory rhetoric associated
25
Jay Rubin, Injurious to Public Morals: Writers and the Meiji State (Seattle:
University of Washington Press, 1984), 43.
26
Rubin, 43-44.
27
Rubin, 44-45, citing Dec. 1900 special issue of Myōjō.
164
with Christian reformers. Yet an ambivalence persisted, partly because of Christianity’s
own problem with sensuality and gender equality. Akiko pried her poems into those
ambivalent spaces, and in doing so criticized the moralistic atmosphere of the time. 28
Meanwhile, the place of religion itself in tanka was called into question. Ōnishi
Hajime (大西祝, 1864-1900), himself a Christian, called for more religion in poetry, to
complement a greater engagement with spirituality and interiority that he called for in
philosophy and psychology. As Michael F. Marra states, Ōnishi thought poetry “should
express ‘religious thought’—a characteristic he thought was lacking in traditional
waka. . . .Aesthetics was called to the task of promoting a ‘sense of beauty’ in order to
deepen the spiritual life of the Japanese people.” 29
The ambivalence of religious significance in Akiko’s poems could hardly be
avoided in such a discursive climate. For not only was there the dissonance between
different religious traditions’ symbols, there was also the ambivalence of the status of
the various religious traditions themselves in Meiji Japan. (It may be too much to
venture that there were paradoxes or contradictions in the messages within each single
religious tradition. It is certainly beyond the scope of this study.)
28
Takayama Chogyū (高山樗牛, 1871-1902) also criticized the denigration of love as a
result of popular morality. Watanabe Kazuyasu writes of this, “Even in 1898 we can see
Chogyū’s criticism against a ‘tasteless society’ where everybody has ‘one face, one voice,’
and where ‘people who repress their feelings and are not moved by love are revered as
great.’” Watanabe Kazuyasu, “The Aesthetician Takayama Chogyū,” in A History of
Modern Japanese Aesthetics, translated and edited by Michael F. Marra (Honolulu:
University of Hawai‘i Press, 2001), 126; the quotation of Chogyū is from Takayama
Rinjirō [Chogyū], Chogyū zenshū, vol. 5. (Hakubunkan, 1914), 606-607.
29
Michael F. Marra, “Introduction,” in A History of Modern Japanese Aesthetics,
translated and edited by Michael F. Marra (Honolulu: University of Hawai‘i Press,
2001), 11.
165
The importance of supernatural symbolism in Tangled Hair is difficult to
overstate, because it is precisely this that makes the touted passion of the poems
different from its predecessors. Indeed, passionate love is not new to tanka in 1900.
The difference is the positive, playful light in which it is cast. Consider the contrast in
this verse by Kōkamon’in no Bettō (皇嘉門院別当, dates unknown), from the collection
One Hundred Poets, One Verse Each (百人一首: Hyakunin isshu):
Hyakunin
On account of one night
難波江の
88
spent among the reeds
あしのかりねの
by the Naniwa River
ひとよゆゑ
I offered up myself—
みをつくしてや
should love endure
戀ひわたるべき
The passionate love here, which is not atypical of tanka going back to the Heian period,
is undeniable. Passion, therefore, does not begin to explain the remarkable reception of
Akiko’s poetry. But for the speaker of this poem, love is ultimately a source of despair.
It is unrequited in the end.
The Kokinshū devotes five of its twenty volumes (360 poems out of 1,111) to love
(though, of course, love is present in many of the others, as well). The name for these
poems is koiuta (恋歌), and the compound uses the term koi, later a synonym for ren’ai.
In grouping these 360 poems by their place in the course of love from discovery to
dejection, the compilers provide a context to each, a setting of the verses in a universal
narrative—if one with variations—of love. They thus ensure that no single poem can
hold out hope for a happy end.
Below is one poem from the Kokinshū that could almost have been written by
166
Akiko herself:
Kokinshū
If you love me
戀しくば
652
keep your feelings underneath—
下にを思へ
do not let show
紫の
the color of that robe
根
dyed with the purple gromwell
色に出づなゆめ
の衣
The difference is that Akiko’s verses undermine the fatalism of love poetry and its
tendency to harbor a sense of resignation that love affairs must always end in
disappointment. Even traditional tanka that celebrate love (most of these being the
anticipation of love, before regret, disappointment, and reality have had time to dampen
one’s sentiments) have so often been inserted into anthologies that, following the
Kokinshū, bring love to an unhappy end. 30 Tangled Hair as a collection does not do
that. In lacking an arc to love affairs, or even a sense of the passage of time across
poems, it evades coherent messages. The collection thus delights in a kind of jouissance
that escapes the constraints that the passage of time and cause and effect inflict.
The constraints on love that Tangled Hair escapes affect the moral message of
the poems. Akiko’s poem from the epigraph to this chapter (though from a later
collection) implicitly rebuffs readers’ quests to find the moral message in her poetry (or
anywhere). As we shall see in the section on sin, what sets Akiko’s poetry apart is that
she invokes morals in order to forswear them.
For the poems in Tangled Hair, love is both divine—hence, the references to
30
Students of Japanese literature and film have remarked that the stories they read and
watch too often end in heartbreak and loss. But rather than see Japanese literature as
singularly pessimistic, we might rather see our own culture’s devotion to happy endings
as the anomaly.
167
kami—and transgressive—hence, the references to her own sin. Transgression is divine.
Transgression metaphorically moves her to a divine realm. The first poem of Tangled
Hair, while perhaps seeming unrelated to the supernatural, announces this:
1
From the world of stars
夜の帳に
come whispers through
ささめき尽きし
the screen of night,
星の今を
tangling the sidelocks
下界の人の
of someone in the world below
鬢のほつれよ
The mundane and the supernatural are expertly interwoven—or perhaps one should say
tangled—so that the stars come down to the profane world (下界: gekai) while the
woman’s hair is engulfed in star-whispers.
Not surprisingly, Akiko’s treatment of supernatural symbols is often ambiguous
or self-contradictory. Her tangled descriptions tend to preclude a singular ideal. They
deconstruct themselves. This should be seen not as a flaw, however, but as contributing
to the tangled effect of the poems. After all, she is not replacing existing mores with a
monolithic natural order of her own. Tangled Hair’s confrontation with, not to say
trivialization of, religious imagery is part of the thrill of transgression, the thrill of
awakened love, and, perhaps, a certain nihilistic thrill.
The metaphors go both ways, too: a lamb can be a symbol of the son of God, but a
god can be the personification of love, or even the specific lover. Symbols thus connect
the natural and supernatural, making them both one and not one. There is here a
danger of upsetting the hierarchy of divine and human. Akiko does precisely this. Her
poems simultaneously elevate her lover to divine status, replace traditional values with
168
hedonism, and make a mockery of religious piety.
It is perhaps artificial to separate what appear to be explicitly religious words and
symbols for special consideration. What is religious is a not necessarily contiguous
subset of a whole constellation of philosophical and moral values and beliefs. As such,
there are many terms and figures that migrate easily between secular and religious
metaphor. Within Tangled Hair, in particular, there are poems that could hardly be
said to express religious sentiment. It is understandable to classify the following, for
example, in the category of “Tekkan as Akiko’s god”:
358
Unexpectedly, after that
ふとそれより
spring came
花に色なき
with no color in the flowers—
春となりぬ
doubtful kami,
疑ひの神
misleading kami
まどはしの神
But simply to identify the kami as reflecting Akiko’s worshipful attitude towards Tekkan
is to miss the force of the metaphor. Godlike, he is capable of bringing color to the
flowers of spring. Withholding his love causes the flowers to bloom with no color. He
cannot stop the spring from coming, though. Akiko’s speaker asks what spring would be
without color, which is to say what would youth be without love, and that makes her
doubt the kami. To ask what kind of kami would withhold the colors of spring makes
the deity or lover seem to have a wicked streak. But of course the answer is that spring
came after all, and it is in her perception alone that the flowers have no color. The kami
himself could not pull off such a trick. The supernatural propels the poem but in the
end is empty.
169
A writer like Akiko can succeed by exploiting the force and range of religious
metaphors without believing in them—and without needing readers to believe. We have
to be able to look at the Christian imagery in the same way that we do Greek
mythological imagery from European poetry—that is, as a poetic resource. 31 Indeed,
myths and legends along a spectrum from outright fabrication to quasi-historical play a
role in others’ poetry, too, notably Doi Bansui’s. The difference is not that Bansui
believes in all the myths he invokes, but that Akiko uses them so playfully.
Yamakawa Tomiko (山川富美子, 1879-1909), Akiko’s rival for Tekkan’s affections
and a fellow member of the Morning Star school, also wrote poetry with religious
references. But Tomiko, who was educated at a Christian school, took them more
seriously, and it is thought that she earned her nickname “White Lily” (白百合:
Shirayuri) from serious religious poems like the following:
31
Know you not?
知るや君
The evening breeze
百合の露ふく
that breathes dew on the lily
夕風は
has imparted the voice of God
神の御聲を
European poets also exploited this ambiguity, of course. The speaker in William
Wordsworth’s “The World Is Too Much With Us” (1806) laments the loss of
metaphysical feeling while ironically summoning that feeling:
Great God! I’d rather be
A Pagan suckled in a creed outworn;
So might I, standing on this pleasant lea,
Have glimpses that might make me less forlorn;
Have sight of Proteus rising from the sea,
Or hear old Triton blow his wreathed horn.
Personifying natural phenomena also imparts a quasi-divine status; consider Percy
Bysshe Shelley’s “To Night” (1821), which makes Night the brother of Death and the
parent of Sleep.
170
to the flower
花に伝へぬ32
The exploitation of religious terminology and symbolism allows the speaker of the
poem to wrestle with received values. Current attitudes, whether lingering traditional
values of pre-Meiji Japan or the fashionable new tenets ascribed to Western societies,
are also ripe sources of tension between the speaker’s internalized values and those
imposed from outside. In her romantic struggle against external morality, Akiko
exploits the availability of diverse literary and discursive precursors, much as Doi
Bansui does in Nature Has Feelings (天地有情: Tenchi ujō, 1899). In Akiko’s case, the
poems construct a textual background of restraint and decorum as if of Heian courtiers
who must couch their courtship in coded private allusions. 33 The poems then throw off
those moral directives in the foreground.
Akiko’s success with the tanka form—a success that lasted long past the early
poems—helped prove that the abbreviated form was not inadequate for expression of
complex thought and emotion. The brevity, in fact, allows contradictory imagery and
ellipsis to remain unresolved and therefore admit multiple readings of its suggestive
absences. Tangled Hair succeeds precisely because it embraces the tradition of allusion
while simultaneously expanding the range of references and registers.
32
“Yamakawa Tomiko hen,” in Yosano Tekkan, Yosano Akiko shū, tsuki Myōjō-ha
bungaku shū (Yosano Tekkan, Yosano Akiko collection, with Morning Star school
literature appended) (Meiji bungaku zenshū [Complete Meiji literature] 51, Chikuma
shobō, 1968), 318.
33
Shinma Shin’ichi, for example, describes a process by which Akiko makes the voice of
her poems into a character from the Heian court. Shinma, “Midaregami o keisei shita
mono” (What Tangled Hair created), in Gunzō Nihon no sakka 6: Yosano Akiko (Gunzō
Japan’s writers 6: Yosano Akiko) (Tokyo: Shōgakukan, 1992), 80.
171
One of those registers is that of playful irony. Generations of scholars, mining
Tangled Hair for its meanings and allusions, tend to take Akiko's writing so seriously;
even the liberation of her sensuality is a serious and sincere topic. Instead, we can find a
fair dose of irony in many of these poems. Akiko’s poems span a wide range from
playful to serious, sometimes with mixtures of the two extremes in the same poem.
Indeed, some of her most striking tanka are the most playful, as in this famous example:
362
I, who was created
罪おほき
to teach a lesson
男こらせと
to a man of many sins,
肌きよく
with my skin so pure
黒髪ながく
and black hair so long
つくられし我れ
Four things make this poem especially striking: the invocation of her lover’s sinfulness
(or crime; see my discussion of tsumi below); the corresponding purity of the woman’s
body; the fact that she was created for a purpose (implying a creator); and the fact that
the entire poem modifies the pronoun “I” [我れ: ware], making the whole poem a noun
phrase culminating in the speaker’s glorious self. The man (or men) has many sins, no
doubt involving his taste for women with pure skin and long, black hair. The speaker
here sees her anatomical gifts as evidence of a command to punish (korase) men,
specifically by teasing but withholding her affection. How far she will go to tempt this
man is unclear. The poem suggests that she will show some skin and let down her long
hair. But even if she indulges like this, the temptress’s skin will remain pure and her
hair long and black; it is his purity and not hers that is at risk. Then again, korase could
conceivably be 凝らせ (concentrate on) instead of 懲らせ (punish). The use of kana
172
leaves open both possibilities and accentuates the playful possibilities of the poem: to be
fixated on her hair is to suffer punishment. In that interpretation, the imperative would
be directed at the man or men. Hence:
Fix your eyes on this,
you sinful man,
say I, fashioned from
pure skin and
long, black hair
Here we see the inversion of the sacred (which is lowered) and the profane (which is
elevated). The speaker’s black hair, kuro kami, becomes a dark deity (even if the kanji
for kami superficially forecloses on the divine nature of her hair), a provocation to lust.
Readers in 1901 may have been shocked at the simultaneity, the tangled coexistence of
sacred and profane. Such an inversion is, on the surface, a crisis of traditional morality,
but it is a powerful rhetorical statement as well. Meanwhile, Tangled Hair’s traditional
diction and textual allusions legitimate the sentimental and erotic by showing the
language to be very much in keeping with traditional poetry. In the example above,
Akiko’s famed use of hair imagery mingles with the mostly overlooked reference to sin.
The poems thus avoid being vulgar or comical. It is perhaps surprising how few writers
of the Meiji period marshaled such pregnant language for rhetorical effect as Akiko did.
Many were simply too earnest (and sometimes devout) to produce such delicious irony.
The Trouble with Biographical Explanations for Akiko’s Poems
Hō Akiko became a literary sensation in 1901 when she defied conventions of
poetic style and morals to celebrate her sexual liberation in the 399 tanka of Tangled
173
Hair. 34 Her transformation into a goddess of poetry—and the key to understanding so
many of her perplexing poems—was incubated by her rivalry with Yamakawa Tomiko
for the love of Yosano Tekkan, founder of the Tokyo New Poetry Society (東京新詩社:
Tōkyō shinshisha). 35 Akiko married Tekkan shortly after Tangled Hair was published,
and she soon outshone her husband as a poet. In her distinguished and productive
career, she also made major contributions as a feminist social critic and as a scholar of
classical literature—all while raising eleven children.
Those are the familiar contours of a story that is repeated in the many
biographical studies, annotated anthologies of poetry, and histories of modern Japanese
literature. Yet Tangled Hair, arguably the single most celebrated poetry collection since
34
Akiko’s family name, 鳳, can be pronounced either Hō or Ōtori. Her given name was
Shō, usually written 志やう but sometimes 晶 or other variants. When written 晶 and
given the common name ending -ko, it can be pronounced Akiko. The name printed on
the first edition of Tangled Hair was Hō Akiko (鳳晶子). Akiko herself used several
variations of characters to write her name. See Yosano Hiroshi Akiko shokan shūsei
(Collection of Yosano Hiroshi and Akiko’s correspondence), 4 vols., edited by Itsumi
Kumi (Tokyo: Yagi shoten, 2001); see also Janine Beichman, Embracing the Firebird:
Yosano Akiko and the Birth of the Female Voice in Modern Japanese Poetry (Honolulu:
University of Hawai‘i Press, 2002), 285 n. 2.
35
Yosano Tekkan, whose given name was Hiroshi (寛), founded the Tokyo New Poetry
Society in 1899. The group began publishing its literary magazine, Morning Star (明星:
Myōjō), in April 1900, and they later came to be known as the Morning Star Group.
174
the Meiji Restoration, is still undervalued and misunderstood. 36 The reason for this is
that criticism of Akiko’s work tends to do two things: it foregrounds Akiko’s biography
as a way of explaining the context and motivation of the poems, and it gets buried in
paraphrasing and explaining abstruse diction in individual poems. Such biographical
explanations reduce the multivalent possibilities (dare we say Tangled Hair’s split
ends?) of interpretation. The characteristic celebration of the putative immediacy and
passion of Akiko’s tanka has precluded any analysis of their range, conceptual
sophistication, and idealism. Yet they very much belong with Shimazaki Tōson and Doi
Bansui (土井晩翠, 1871-1952) in their celebration of the visionary yet intertextual role of
the poet in describing romantic and unrealistic natures.
Why should critics, after all, reduce the achievement of the young Akiko’s tanka
to the newness and shock value of their passion? Her evocations of ill-fated,
transgressive love are not new to the literature. The love-suicide plot, for example, was
one of the most popular story lines in Edo-period literature, and their popularity
36
Akiko’s later poetry, which includes as many as 50,000 tanka as well as free verse,
deserves more attention, too. Akiko herself saw Tangled Hair as less mature and
accomplished than her later works. In addition to Tangled Hair, much has been written
on Akiko’s most famous single poem, “Brother, Thou Must Not Die” (君死にたまふこと
なかれ: Kimi shini tamō koto nakare), a poem she wrote against the Russo-Japanese
War shortly after the war began in 1904. “The Day the Mountains Move Has Come” (山
の動く日きたる: Yama no ugoku hi kitaru), an excerpted stanza from the poem
“Trifling Words” (そぞろごと: Sozoro-goto), famously appeared on the first page of the
feminist magazine Bluestockings (青鞜: Seitō) in 1912. Otherwise, most of Akiko’s
poetry has been neglected.
175
continued into the Meiji period. 37 Love-suicides are both passionate and transgressive.
Akiko’s tanka are different from those because, the poems are in the first person from a
woman’s point of view, and there are no suicides. More important is that, whereas lovesuicide plots invoke a fatalistic recognition that there can be no happy ending to their
transgression, Akiko’s verses mix acceptance and defiance of moral values. They do not
operate entirely outside society’s morals, but neither do they submit completely to
society’s dictates. As we shall see, Akiko’s ironic invocation of sin, both Buddhist and
Christian, along with addressing her lover as a kami or a priest, adds a note of play to
the seriousness.
The question remains why Akiko embraced the tanka form as the vehicle for her
shocking verses. As discussed in the introductory chapter, her rediscovery of tanka as a
form with revolutionary potential owes a great deal to Tekkan’s tanka. But it was also a
shrewd stylistic and intertextual move. Before the reforms pioneered by Tekkan, the
tanka form had become encumbered with, not to say benumbed by, convention to the
point that even transgression was safely circumscribed. It came equipped with
metaphors and standardized backdrops so that references to lovers’ improper meetings
and partings were more indirect. Passions and the furtive meetings they prompted were
thus staples of court poetry, as they were of otherwise rigid court lifestyles, without
37
Kamei Hideo sees a change in the love-suicide plot’s literary significance after
Shimazaki Tōson’s Spring (春: Haru, 1908). But this was nearly a decade after Akiko’s
poems began appearing. See Kamei Hideo, Transformations of Sensibility: The
Phenomenology of Meiji Literature, trans. ed. Michael Bourdaghs (Ann Arbor:
University of Michigan Center for Japanese Studies, 2002), 137.
176
transgressing the limits of what could politely be said. 38 Yet it also has a rich history of
combining references to passion with negative judgments of (usually one’s own)
spiritual fitness. In a classical example from The Tales of Ise (伊勢物語: Ise monogatari,
tenth century), Ariwara no Narihira (在原業平, 825-880) sends this poem to a priestess
at the Ise Shrine:
Ise 69
In the darkening gloom
かきくらす
of my heart
心の闇に
I have become lost—
まどひにき
whether it is a dream or reality
夢うつつとは
tonight shall tell.
こよひさだめよ39
As Edwin A. Cranston explains, Narihira’s passion is expressed as a “going astray” or
“losing the path”: “the Buddhist concept of the ‘darkness of the heart’ [心の闇: kokoro
no yami], the error of human entanglement in all forms of desire and attachment, lies in
the background of such passages.” 40 Akiko’s poems similarly burrow into liminal spaces
of longing and illusion, and in so doing they reach into the uncertain depths of readers’
emotions and values. By retaining classical diction, open-ended syntax, and visionary
imagery, meanwhile, the poems both formally and substantively reject the movement
38
Sometimes, though, the passions followed the prompting, as in several instances of
rape in Murasaki Shikibu’s (紫式部, ca. 974 to ca. 1014) The Tale of Genji (源氏物語:
Genji monogatari, ca. 1000).
39
This version is poem 69 in The Tales of Ise; it also appears with a slight variation as
poem 646 in the Collection of Poems Old and New (古今和歌集: Kokin wakashū,
compiled ca. 905; hereafter abbreviated to Kokinshū).
40
Edwin A. Cranston, “The Dark Path: Images of Longing in Japanese Love Poetry,”
Harvard Journal of Asiatic Studies 35 (1975), 61.
177
towards realistic description in vernacular language. In this, they occupy a position,
similar to Tōson’s and Bansui’s poems examined in this study, of tension between the
real and the ideal. But where Tōson’s poetic speakers explore ways to describe and
interact with some idealized incarnation of landscape, and Bansui reflects on the poet’s
mystifying role in chasing the shadows of ideals cast by other poets, Akiko’s verses
expose the potential of what Baudelaire calls in this chapter’s epigraph the “artificial and
supernatural” character of virtue. Akiko does not simply reject the hypocrisies of
artificial and supernatural dogmata in order to pursue moral and sensual freedom;
instead, her poems play ironically with the artificiality of religious, supernatural, and
moral dangers.
Yet the appeal to biography is particularly tempting, not only because Akiko faced
such moral dangers (though perhaps did not enjoy such sensual freedoms) in her life,
but also because Akiko wrote her poems in a diaristic way. 41 It is too easy to try to
supply episodes from Akiko’s biography in the same way that poems attributed to
Ariwara no Narihira were strung together with narrative in The Tales of Ise. But I would
argue that, even in Akiko's case, knowledge of her biography is unnecessary. That robs
the poems of the lives they can lead when taken out of their original context. As Neil
Fraistat notes, a poem (in English, anyhow) is a discrete unit that can, by definition, be
taken out of context. In addition, smaller units of long poems can take on semi-
41
Sanford Goldstein and Seishi Shinoda note that Ishikawa Takuboku (1886-1912), a
disciple of Tekkan, took Akiko’s lead in writing tanka as a diary, “with its stark emphasis
on breakdown, mental, physical, and moral.” Akiko Yosano, Tangled Hair: Selected
Tanka from Midaregami, translated by Sanford Goldstein and Seishi Shinoda
(Lafayette: Purdue University Studies, 1971), 20.
178
independent lives, as is the case with Shakespeare monologues and portions of Milton. 42
Tanka are especially portable because of their length; once memorized, readers can
apply them to new contexts—as long as the poems are not unduly weighed down by an
identification with a famous writer’s scandalous love life. Reading the poems of Tangled
Hair from start to finish is only one step, and not necessarily a step most readers take,
in making the poems their own.
At the same time, in the classical tradition of tanka compilations, a poem is not a
purely independent entity, but serves a function and has value as part of the “association
and progression” of the sequence in which it is placed. 43 Such a standard further
removes individual tanka from the occasion of their creation. As I discuss below in the
section on the difficulties of Tangled Hair as a collection, the compilation is another act
of creation, albeit in this case by the writer of the poems herself. As the verses are taken
out of chronological, hence biographical, order to be placed in the anthology, they
perform with each other in ways that resist biographical explanation. When we invoke
biography, first we limit the wide array of resonances and depths. We search for simple,
unitary explanations for what are in fact complex thoughts. Such explanations began
42
Neil Fraistat, The Poem and the Book: Interpreting Collections of Romantic Poetry
(Chapel Hill: University of North Carolina Press, 1985), 10. William Waters, meanwhile,
asserts, “What we call lyric poetry is literature, something whose detachment from
context is, in a manner of speaking, its foundation.” William Waters, Poetry’s Touch:
On Lyric Address (Ithaca: Cornell University Press, 2003), 9. Susan Stewart argues for
the “specificity” of poems’ “use and occasion.” Susan Stewart, Poetry and the Fate of
the Senses (Chicago: University of Chicago Press, 2002), 22, quoted in Waters, 10.
43
See Konishi Jin’ichi, “Association and Progression: Principles of Integration in
Anthologies and Sequences of Japanese Court Poetry, A.D. 900-1350,” translated and
adapted by Robert H. Brower and Earl Miner, Harvard Journal of Asiatic Studies 21
(Dec. 1958), 67-127.
179
with the earliest criticism in Morning Star and other journals. Second, we run into
contradictions when the biographical background of the poet does not line up with the
expressions. Most notable in Akiko’s case is her invocation of religious imagery. Akiko
was never religious, so there must be some other way to approach the references to
Buddhist, Shinto, and Christian symbols. To take an extreme example, what should we
make of the following poem’s seemingly sincere evocation of ambivalence towards
Christianity, a sentiment Akiko appears never to have experienced?
215
The Bible I tossed
淵の水に
into the deep water
なげし聖書を
I pulled out again,
又もひろひ
and looking up at the sky I cried—
空仰ぎ泣く
I am a lost child
われまどひの子
Such a poem is more moving if we envision a vulnerable, conflicted persona—in other
words, not Akiko. The most we should say about Akiko based on this poem is that she
seems to have found such religious doubt a useful poetic resource.
The biographical context, which Janine Beichman argues is necessary in order to
understand many of the poems, 44 is not part of the poems proper; or, we might say, it
only illuminates one corner of the many significations and interpretations of the poems.
Even occasional poems written under the most constrained circumstances, as so many
of the classical tradition have been, are worth reading a hundred or a thousand years
later because they transcend those circumstances. To say otherwise, to look for
biographical clues, is indeed to limit the poems. All the background of the occasion on
44
Beichman, 227.
180
which a given poem was written may be revealing, but the poem cannot be only that. If
it is to be read by thousands of readers, and not just by Tekkan or Tomiko, it must be
read as if meant to widen beyond its immediate context, to address some universal or
general understanding, emotion, or reflection. Moments, emotions, and meetings are
abstracted and idealized; readers are implicitly encouraged to supply their own
biographical contexts and find distinct resonances.
Nor is the biographical context a hint to how the poems were read at the time.
Outside the Morning Star circle of writers, readers would not have known the details of
Akiko’s life. The biographical correctives of later years should not have been trusted, as
the explanations she and Tekkan gave for their poems were often misleading. 45
Indeed, Akiko’s poems—and the tanka form by its very nature—leave such details
out. Akiko even altered certain poems to allow readers to supply their own context. In
the following poem, which was first sent to Tekkan in a private letter, Akiko changed the
place from the specific “Awata” to the famous “Fuzan” (Ch.: Wushan), and the factual
“two nights” to the typical “one night,” before publication in Tangled Hair.
[letter]
45
Goodbye, my love—
君さらば
this wife of two nights
粟田の春の
of a spring in Awata—
ふた夜妻
until the next world,
またの世までは
forget me!
忘れゐたまへ
See Yosano Akiko, “Kōbai nikki” (Red plum diary) (Koshijin 1, Feb. 1902); Uta o
tsukuriyō (How I write poems) (Dec. 1915); and Akiko kawa (Akiko discusses poetry)
(Ten’yūsha, 1919). Also see Tekkan’s series “Tekkan kawa” (Tekkan discusses poetry),
especially no. 2 (Myōjō, Sept. 1901), no. 3 (Myōjō, Oct. 1901), and no. 5 (Myōjō, Feb.
1902).
181
220
Goodbye, my love—
君さらば
this wife of one night
巫山の春の
of a spring in Fuzan—
ひと夜妻
until the next world,
またの世までは
forget me!
忘れゐたまへ46
Clearly, the second version does not raise questions about the significance or specificity
of the place and time. It does not invite inquiry into the speaker’s particular frame of
mind and conflicting emotions, but rather seems to tap into a conventionally imagined
impossible love. But by the same token, the first version may be superior in forcing the
reader to imagine a new scenario. The truth of Akiko’s stay in Awata with Tekkan is not
required—and indeed, knowing the details would diminish the imaginative freedom
given to the reader. Once again, the obstacle to easy understanding is simultaneously
the burden and expectation for the reader to do more for and get more from a poem.
The recourse to Akiko’s biography is illuminating not for the facts and contexts it
provides, but for the evidence it provides of the historical priority given to authorial
genius. A focus on Akiko’s biography, then, though not negating the intertextual
associations in the poetry, nevertheless betrays a shift to a primary emphasis on the
individual expression of the artistic genius’s solitary mind. To be sure, this key
difference in literary criticism seems suited to the Romantic style of poetry Akiko wrote:
as the focus on individual, unique experience sharpens, so does the criticism of the work
seek to explain the work’s genesis and significance through the author’s intertextual and
extratextual experiences. But to insist on the biographical relevance of the tanka, to
46
Itsumi, 84-85; see also Beichman, 185.
182
keep the tanka always tethered to the writer, is to deprive them of room to play, to tamp
down ambiguities. It also deprives the reader of the freedom to appropriate the poem,
to reimagine it.
The early tanka anthologies split the difference. Many poems come with
headings that supply the occasion, along with authorial credit when known. But the
themes are generally limited to conventionally accepted expressions of conventional
feelings and conventional landscapes. Or, at least, we have been taught to read them
that way. That is, the how of poetic execution has typically received more attention than
any particular biographical inspiration. There are a few exceptions in the early
collections, however, such as Ono no Komachi (小野小町, dates unknown), whose
reputation as a passionate lover colored the reception of her poetry. Although Ono no
Komachi was canonized as one of the “six poetic geniuses” of the early Heian period, Ki
no Yoshimochi’s Chinese preface to the Kokinshū describes her poetry as “seductive and
spiritless. This is like a sick woman wearing cosmetics.” 47 Ki no Tsurayuki’s Japanese
preface to the Kokinshū likewise praises Ono no Komachi with faint damnation, you
might say: “She is full of sentiment but weak. Her poetry is like a noble lady who is
suffering from a sickness, but the weakness is natural to a woman’s poetry.” 48
47
Grzanka qualifies this passage with a footnote: “The statement that she ‘lacks power,’
while not the highest of praise, may be taken as an expression of admiration in a culture
in which helplessness and fragility exhibited in a framework of sensuality were
appreciated.” Ki no Yoshimochi, “Manajo: The Chinese Preface,” translated by Leonard
Grzanka, in Kokinshū: A Collection of Poems Ancient and Modern, translated and
annotated by Laurel Rasplica Rodd with Mary Catherine Henkenius (Boston: Cheng and
Tsui, 1996), 383.
48
Ki no Tsurayuki, “Kanajo: The Japanese Preface,” in Kokinshū: A Collection of Poems
Ancient and Modern, 45.
183
Needless to say, such judgments are unfair, as one can see from the following
poem by Ono no Komachi:
Kokinshū
At night I shall come to him
限りなき
657
with a love that has
思ひのままに
no limits—
夜も来ん
no one can judge me
夢路をさへに
for following the path of dreams
人は咎めじ
A better fit for such a judgment might be the following poem by the male poet
Ariwara no Narihira, written on behalf of a woman in his household in response to a
poem by Fujiwara no Toshiyuki (藤原敏行, died 901 or 907):
Kokinshū
My sleeves might be drenched
浅みこそ
618
even in shallow waters
袖はひずらめ
if I heard
涙側
that you had floated away
身さへ流ると
on a river of tears
聞かばとのまん
This arguably fragile and sentimental poem was clearly an imitation (not to say
caricature) of womanly feeling and diction. But that did not make it any less celebrated.
Male poets not infrequently wrote in drag, as a way of expanding the range of setting
and sensibility in their tanka. 49 Seen in the reflected light of predecessors shunted into
the category of women poets, Akiko’s reputation is almost predictable. What is
remarkable is that, instead of being called weak and sentimental, Akiko is deemed
strong and passionate.
49
Women, meanwhile, seem to write tanka in the persona of men less often. One rich
source of examples are the many poems Murasaki Shikibu caused to come from the
mouths and writing brushes of Genji and other male courtiers in The Tale of Genji.
184
Another frequently invoked source of contextual clues to Akiko’s poetry are the
art nouveau-inspired woodblock prints by Fujishima Takeji, which were published with
the poems in the August 1901 full collection. Fujishima also designed the layout of the
book. The striking prints are valuable to the identity of the collection, whose cover
image was of a woman’s profile inside a heart pierced with an arrow, from which drops
of blood formed the title. In Beichman’s words, “The visual extravagance of the cover
foretold what lay within: a passionate hymn to love, poetry, and youth.” 50 Here we must
distinguish, however, between the collection as a whole and the individual poems. Yes,
the cover art suggested what may have lain within, but it also instructed the reader what
to look for—and what not to look for. James Wright recalls Robert Frost’s opinion “that
if there are twenty-five poems in a book, the book itself ought to be the twenty-sixth
poem.” 51 Fujishima’s visual art constitutes part of the four hundredth poem of Tangled
Hair, we might then say, a poem whose authorship is collaborative.52 But the art should
not be taken as intertwined with individual poems in the same way that an illuminated
poem-artwork by William Blake might be. Rather, it should add to the verses, and not
subtract from or limit our investigation of the verses.
50
Beichman, 175.
51
James Wright, quoted in Fraistat, 3.
52
For treatment of the dialogue between poems and prints in Tangled Hair and other
Meiji literature, see Kimata Satoshi, Gabun kyōmei: “Midaregami” kara “Tsuki ni
hoeru” e (Words and pictures singing together: From Tangled Hair to Howling at the
Moon) (Tokyo: Iwanami shoten, 2008).
185
Entangled Tanka in Tangled Hair
The artistic project of making the collection puts the poems in (ordered)
conversation with each other. The themes that predominate rise to the surface, and the
structure—a structure that exceeds the brief bounds of a tanka, but also a structure built
entirely of one poet’s tanka (plus one artist’s woodcuts)—creates its own effect. Yet the
semi-discrete individual poems resist any final unity and remain tangled. Akiko herself
was, of course, the first to tangle up the verses when she produced the collection. In
creating an entirely new sequence of poems, she disrupted the “association and
progression” of poem sequences as previously published. In editing the collection for
publication, she—possibly with Tekkan’s help, but the process is not known—also
disrupted their chronological order and further weakened the connection to her
biography.
The following four poems, for example, appeared consecutively in Tangled Hair
for the first time. The first two first appeared in the March 1901 issue of Morning Star,
while the second were appearing in print for the first time.
258
259
Today’s poem
戀の神に
in offering
むくいまつりし
to the kami of love—
今日の歌
when will the god of destiny
ゑにしの神は
receive it?
いつ受けまさむ
Do you still yearn
かくてなほ
for the true, the good,
あくがれますか
and the beautiful?
眞善美
The flower in my hand
わが手の花は
is crimson, my darling!
くれなゐよ君
186
260
261
Black hair,
くろ髮の
a thousand strands of hair,
千すぢの髮の
tangled hair,
みだれ髮
and tangled feelings, too,
かつおもひみだれ
tangled feelings!
おもひみだるる
Perhaps because
そよ理想
I myself am weak
おもひにうすき
at feeling those ideals,
身なればか
I was so envious of her
朝の露草
among the spiderwort that morning!
人ねたかりし
The offering poem of number 258 is echoed by the offering of the flower in 259. The
kami of destiny (or of marriage, if you like) and the trinity of ideals (truth, goodness,
beauty) in these two poems then give way to the repeated tangling of hair and feelings in
260. Readers who read the poems in this order will be struck by 260 in a different way,
having come along this path. Perhaps they will see the substitution of eros in a crimson
flower in 259 for the marital ideals in 258 as preparing the way for the further physical
and emotional entanglements of 260. Then the perspective shifts substantially in
number 261; but the tangled feelings linger, and they seem to be further defined to
include envy—if we take them to be the outpouring of the same poetic speaker. The
mention again of ideals helps to echo the ideals of love, truth, goodness, and beauty in
poems 258 and 259, while causing the spasm of tangled hair and feelings in 260 to stand
out even more—and to tangle the strands of tanka. (This effect is better visualized in the
Japanese original, with each poem flowing vertically in two lines.)
Unlike imperial poetry anthologies, however, whose compilers arranged the
187
poems by themes, 53 or the records of linked poetry gatherings, which preserved the
sequence of poems’ composition (and thus the rules of recurrence of words and
themes), 54 Akiko’s collection appears to follow no such rules. That is not to say,
however, that there are no recurring themes. An early, anonymous review in Morning
Star attempted roughly to distinguish the predominant themes in each of the six
“chapters,” and, as rough as these distinctions are, they have been repeated in later
commentaries. In the first chapter, for example, “Carmine-purple” (燕脂紫: Enji
murasaki), rich, beautiful colors predominate. 55 The second chapter, “Boat of Lotus
Blossoms” (蓮の花船: Hasu no hanabune), is like a series of photographs of the poet’s
adolescence. The third chapter, “White Lily” (白百合: Shirayuri), has poems that deal
with Tomiko. The fourth chapter, “Twenty-year-old Wife” (はたち妻: Hatachi tsuma),
refers to Akiko’s trip to Tokyo to be with Tekkan. “Dancing Girl” (舞姫: Maihime; not to
be confused with a separate poetry collection Akiko published in 1906) focuses on Kyoto
53
The precedent was set with the first imperially commissioned anthology of waka, the
tenth-century Kokinshū, whose 1,111 poems were grouped under headings such as love
(within which there is a progression from first stirrings of interest to the sadness of
faded love) and the four seasons (each of which shows internal progression). But it is
worth noting that these imperial anthologies were themselves created by taking poems
out of their original contexts and giving them new significance by their placement
among similar poems. See Konishi Jin’ichi, “Association and Progression.”
54
See also Esperanza Ramirez-Christensen, “Essential Parameters of Linked Poetry: An
Account with Translations of Renga and Haikai Sequences by Earl Miner,” Harvard
Journal of Asiatic Studies 41:2 (Dec. 1981), 555-595, which discusses the rules
governing the recurrence of words and themes in linked verse.
55
For the translation “carmine-purple” (and translations of the 98 poems in the
chapter), see Edwin A. Cranston, “Carmine-Purple: A Translation of ‘Enji-Murasaki,’ the
first Ninety-Eight Poems of Yosano Akiko’s Midaregami, Journal of the Association of
Teachers of Japanese 25:1 (April 1991), 90-111.
188
dancing girls. “Spring Thoughts” (春思: Shunshi or Haru omoi) has some of the richest
symbolism but is difficult to characterize. 56
Bearing in mind, however, that the poems of Tangled Hair were taken out of
chronological order and arranged only according to loose thematic links, these
characterizations are fairly tenuous. The chapter titles seem primarily to serve as
convenient breaks. Still, there may be tighter thematic links and more consistency at
the beginning of each chapter, which then quickly dissipate. But it is worth noting that
poems with religious themes tend to be clustered, as well.
Nevertheless, as I mentioned earlier in this chapter, there is no arc to hint at the
development and decay of a love affair, let alone seasons or other associations and
progressions common to tanka collections. With no strong sense of progression in the
399 poems of Tangled Hair, whether thematically, chronologically, or otherwise, the
effect of reading instead is to emphasize repeated images and moods. Yes, those moods
were often passionate, but they also appear against a background of traditional morality
and supernatural symbols. That makes it all the more striking that no serious study of
the supernatural themes seems to have been mounted.
Perhaps the apparent lack of structure in the collection explains why so many
commentators and translators have been so unconcerned with presenting the complete
56
Myōjō 2:1 (Jan. 1902), 1-4; Shinma Shin’ichi, “Midaregami: Yosano Akiko” (Tangled
Hair: Yosano Akiko), Kokubungaku 8:12, special issue (Sept. 20, 1963), 36; Claire
Dodane, Yosano Akiko: Poète de la passion et figure de proue du féminisme japonais
(Yosano Akiko: poet of passion and figure at the forefront of Japanese feminism)
(Aurillac, Cantal: Publications Orientalistes de France, 2000), 79-80.
189
work in order. 57 (One might expect that they would then choose to include in their
analyses the roughly equal number of poems not included in Tangled Hair that Akiko
published in the same period.) 58 The benefits of selecting and arranging poems from the
collection include the opportunity to create some sort of coherency. 59 As a result, they
57
There are two notable exceptions: the first is Satō Akio’s Midaregami kō (Thoughts on
tangled hair) (Tokyo: Shūdōsha, 1956), which also prints in chronological order those
poems that did not appear in the collection; the second is Satake Kazuhiko, Zenshaku
Midaregami kenkyū (Complete interpretation of Tangled Hair) (Tokyo: Yūhōdō, 1957).
But then Itsumi Kumi’s Midaregami zenshaku (Complete interpretation of Tangled
Hair) (Tokyo: Ōfūsha, 1978) rearranges the poems by order of first publication,
dismantling the structure of the collection. Meanwhile, I have found no complete
translations of Tangled Hair into any other language.
58
Satake, for example, distinguishes three periods in Akiko’s tanka style leading up to
the publication of Tangled Hair: before she meets Tekkan in person in August 1900; the
period from that first meeting until she believed she would be able to marry him (early
spring 1901); and from then until the completion of the collection in August 1901.
Satake then distributes the 399 poems from Tangled Hair into those three periods: 14,
85, and 300; poems not included in the collection are ignored. If his goal was to
examine the change in Akiko’s style as her relationship with Tekkan developed, then
limiting his analysis to the Tangled Hair poems was arbitrary. Satake, “Midaregami no
sakusha no jiga keisei” (The formation of self of the author of Tangled Hair) (Kyoto
University Japanese Language and Literature Department: Kokugo kokubun 25:3
[March 15, 1956], 17-18.
59
One translator, James O’Brien, even celebrates the teacher’s or translator’s role in
selecting and rearranging poems: “I have found that the best way to pique student
interest in Tangled Hair is to rearrange the order of the poems slightly in order to
convey the sense of a love affair progressing from the beginning stages to the breakup
and recovery.” Note how O’Brien is thus following the practices of the Kokinshū
compilers. James O’Brien, “A Few Strands of Tangled Hair,” Journal of the Association
of Teachers of Japanese 25:1 (April 1991), 113.
190
obscure part of the collection’s identity, namely, its relative lack of coherency. 60 I, too,
cannot avoid falling into this trap.
Ideals
My point is not to deny that Akiko’s early poems were “a passionate hymn to love,
poetry, and youth,” but to insist that there was far more to them than what can be found
in her biography. While many poems rejoice in irreverent thoughts, others are the
outcome of deep contemplation, and these tend to be more melancholic or even
phlegmatic (surely not a trait typically associated with Tangled Hair). Four of the
poems in Tangled Hair use the term “ideal” (理想: risō, but sometimes glossed as omoi,
“thought,” which has connotations of “love” dating back to classical poetry). The term
60
An alternative is to group the poems in such a way that the themes multiply beyond
control. Satō Haruo’s Midaregami o yomu (Reading Tangled Hair) (Tokyo: Kōdansha,
1959) is a compilation of short commentaries that stay close to small themes and
individual poems. Satō untangles verses and tangles them up in new configurations,
with the only attempt at coherency being in suggestive subheadings (such as “Akiko’s
Romanticism and Aestheticism” and “Symbolist works”). The essays first appeared in
serial form in Kokubungaku: kaishaku to kanshō (Japanese literature: Interpretation
and appreciation) in 1957. Katharina May seems to give order to Tangled Hair by
methodically moving through themes and patterns in Akiko’s poetry (including color
symbolism and antitheses), but she does this so briefly and in such quick succession that
no sustained critique can be mounted. See Katharina May, Die Erneuerung der TankaPoesie in der Meiji-Zeit (1868-1912) und die Lyrik Yosano Akikos (The renovation of
tanka poetry in the Meiji period [1868-1912] and the lyric poetry of Yosano Akiko)
(Wiesbaden: East Asian Institute of Ruhr University, 1975).
191
seems to be new to tanka at that time.61 If not strictly religious, there at least seems a
whiff of the metaphysical in it. “Ideals” have a flavor of seriousness and high intention.
Consider this poem:
67
The purple
紫の
clouds of ideals
理想の雲は
scatter and disperse—
ちぎれちぎれ
up in the sky where I gaze
仰ぐわが空
they have all disappeared
それはた消えぬ
According to Itsumi Kumi, the purple clouds symbolize the speaker’s ideal of love. 62 Yet
such a reading, instinctive as it may feel, is in fact forced and partial, deriving as it does
from assumptions about the topics of Akiko’s poems and the habit of reading them
primarily as confessions of love or passion. The color purple may symbolize love, but it
may also (especially if we render murasaki as “violet”) be the color of clouds dyed by the
rising or setting sun. 63 Had this been a poem by Bansui, who, as we saw in the previous
chapter, often wrote of ideals and clouds, we probably would not have found any trace of
61
It was included in the Philosophical Dictionary (Tetsugaku jii), edited by Inoue
Tetsujirō and Aruga Nagao (Tokyo: Tōyōkan, 1881). That dictionary of philosophical
terms was the first of its kind in Japan. Bansui’s shintaishi use the term frequently. In
the Shinchō edition of Tangled Hair in 1919, the word “ideals” in poem 67 was changed
to “yesterday” (昨日: kinō). For poem 208 below, in the Kaizō edition of Tangled Hair
in 1933, “ideals” was changed to “heart” (心: kokoro). Poem 46 below keeps the term 理
想, but it always maintains the gloss omoi, thus allowing it to straddle the three concepts
of “ideals,” “thoughts,” and “love.” See Itsumi, 101, 145, 94.
62
Itsumi Kumi, Midaregami zenshaku (Complete interpretation of Tangled Hair)
(Tokyo: Ōfūsha, 1978), 101.
63
Or, according to Sanford and Goldstein, the Buddha arrives on a purple cloud to take
devout followers when they die. Sanford and Goldstein, 129-130.
192
a lonely lover. Instead, we might have found in the poem a more philosophical dejection
lamenting the passing of time or the dreams of youth. We would probably read it as
sunset, whereas Akiko’s hand makes it read like the sighed words of one whose lover has
just left at sunrise. Such a reading is the conventional significance of dawn in traditional
tanka. As with the other colors in Tangled Hair, the color purple has symbolic, abstract
significance to reinforce the idealism expressed in the poem.
To entertain slightly more far-fetched speculation, we might also read “murasaki”
not as the color purple but as the name of Genji’s great love (or even the author of The
Tale of Genji). 64 In that case, the clouds above Murasaki’s head would have dispersed
long ago, and the speaker of the words of Akiko’s poem would be left in a state where
even Murasaki’s frustrated ideals, perhaps involving devoted attention from Genji, were
hopelessly outdated. The poem would then read thus:
64
For Akiko’s use of Genji in her poetry, see Ichikawa Chihiro, Yosano Akiko to Genji
monogatari (Yosano Akiko and The Tale of Genji) (Tokyo: Kokken shuppan, 1998). For
Akiko’s early grounding in, and later scholarly exposition of, the Heian classics, see G. G.
Rowley, Yosano Akiko and The Tale of Genji (Ann Arbor: Center for Japanese Studies,
University of Michigan, 2000). Building on the work of Ichikawa, Rowley argues that
Akiko’s scholarship on Genji and other classics deserves greater appreciation. Akiko
translated The Tale of Genji into modern Japanese twice: the first version (which was
also the work’s first translation into modern Japanese) was published in four volumes in
1912-13, and the second in six volumes in 1938-39 (Rowley, 52-53, 152-153). This does
not include an intermediate translation in progress that was destroyed in the fires
caused by the Great Kantō Earthquake of Sept. 1, 1923. Besides Genji, Akiko translated
into modern Japanese the eleventh-century Tales of Flowering Fortune (栄華物語: Eiga
monogatari), The Diary of Murasaki Shikibu (紫式部日記: Murasaki Shikibu nikki),
The Diary of Izumi Shikibu (和泉式部日記: Izumi Shikibu nikki), and Yoshida Kenkō’s
(吉田兼好, ca. 1283-ca. 1352) Essays in Idleness (徒然草: Tsurezuregusa, ca. 1330-31).
All of these were published between 1912 and 1916 (Rowley, 89). Akiko’s original
scholarship, the product of her individual study under no master’s tutelage, corrected
misinterpretations that had built up over centuries of derivative commentaries.
193
Murasaki’s
ideal clouds
scatter and disperse—
up in the sky where I gaze
they have all disappeared
The second poem with the term “ideal” follows:
208
Before the devil
魔のまへに
your ideal is crushed—
理想くだきし (理想: omoi)
do not point your finger
よわき子と
at the weak child
友のゆふべを
and your night together
ゆびさしますな
Itsumi reads the “ideal” of the poem above as an ideal of self-liberation shared by the
Morning Star poets, against the evil restrictions of a feudal society. 65 More specifically,
it is an ideal of freedom to love as one chooses, and thus appears to feed all too easily
into the criticism that Akiko sings merely of a selfish ideal of love, and nothing more
profound. Yet the ideal invoked here is not the speaker’s own, nor is it made explicit.
Instead, the speaker of the poem refers to the ideal sardonically. Itsumi notes here that
the poem refers to the recent marriage of Akiko’s rival for Tekkan’s affections,
Yamakawa Tomiko. 66 The fate of an “ideal” at the hands of a “devil” suggests a
metaphysical dimension.
The third poem invokes ideals in a good-humored way:
46
65
Do not repent, though
悔いますな
Itsumi, 145. Commentators tend to refer to this traditional morality as feudal (封建
的: hōkenteki), but that term, especially translated into English, is not very useful. The
“feudal” values that Akiko’s poems reject are those of chastity, obedience, diligent study,
and religious observance.
66
Itsumi, 145.
194
your sword broke
おさへし袖に
when I clutched your sleeve—
折れし剣
there are at last no thorns
つひの理想の (理想: omoi)
on the flower of ideals
花に刺あらじ
Tekkan had earned the nickname “Tiger and Sword Tekkan” for elements that
epitomized the “masculinity” in his early collections. 67 But even though Akiko had once
vowed to write like Tekkan, her poems do not, in the end, share anything of the “tiger
and sword” style. This poem from Tangled Hair even subtly refers to the way she has
conquered him—and perhaps his tiger and sword style, too. (Yet to stop at the personal
level of the poems is to forgo consideration of the significance of thornless ideal
flowers.) What place has defensiveness, cautious self-protection in love—or in poetry?
The fourth poem with the compound “ideals,” which I discussed above as part of
a tangled poetic sequence, returns to the gloss risō:
261
Perhaps because
そよ理想
I myself am weak
おもひにうすき
at feeling those ideals,
身なればか
I was so envious of her
朝の露草
among the spiderwort that morning!
人ねたかりし
Taken out of the context of poems 258 to 260, this poem no longer gives any clues to
what the ideal or ideals could be, except that envy runs counter to them. The sign is
more powerful because it is more abstract, in contrast to the speaker’s weak self.
67
This characterization applies especially to Tekkan’s early collections, North, South,
East, and West (東西南北: Tōzai nanboku, 1896) and Heaven and Earth, Dark and
Bright (天地玄黄: Tenchi genkō, 1897). By the time of his collection Purple (紫:
Murasaki, April 1901), his style had already begun to change under Akiko’s influence.
Itsumi, 94-95.
195
Kami
The term kami (神: god or spirit) appears in no fewer than forty-seven of the
poems in Tangled Hair. As noted above, I have chosen to keep the term kami in most
cases, rather than to arbitrarily assign a religion or number (though a verb often
specifies singularity or plurality) by substituting the English god, God, gods, etc.68 If
one conception of kami were said to predominate, it would be that of an epithet for the
love object of the poems. Other invocations of kami include the kami of night, the kami
of love, the kami of autumn, and the kami of spring. 69 Even these kami, however, can
sometimes be read as her lover. This is especially applicable to the kami of night,
although in some cases she implores the kami of night to protect her secret or prevent
her lover from leaving. Akiko exhibits a menagerie of kami, including Greek, Shinto,
and Buddhist, along with other terms associated with specific religions, such as monks
(僧: sō), sutras (経: kyō), the Bible (聖書: seisho), hymns (聖歌: seika), temples (堂: dō;
院: in; or 寺: tera), shrines (宮: miya), King David, and demons (魔: ma; or 鬼: oni). 70
Given the association with natural law and the order of the universe, gods, kami,
68
Akashi Toshiyo writes that Akiko obviously does not adopt a single, clear definition of
kami. Akashi, “Midaregami to shūkyōteki hyōgen” (Tangled Hair and its religious
expressions), Joshi-dai bungaku 35 (Mar. 30, 1984), 64.
69
Please consult the following poem numbers for examples of these kinds of kami:
night: 14, 16, 17, 24, 49, 62; love: 258; autumn: 19; spring: 8.
70
Examples of these kami are found in the following poems: Greek: 322; Shinto: 48 (for
a god of the Kamo River—but the general use of the term kami makes it hard to attribute
Shinto flavor to poems); Buddhist: 20 (a bodhisattva), 36, 150. Poems containing the
other terms: monks: 99, 159, 229; sutras: 7, 20, 121, 123, 150, 159, 229, 393; the Bible:
215, 216; hymns: 213; temples: 7, 20, 112, 142, 285, 343; shrines: 38; David: 368;
demons: 190, 191, 208, 209, 353, 365.
196
and other religious symbols signal the possibility of an exaltation or contestation of
moral values. The question of morality has different answers depending on whether a
kami is read as the speaker’s lover or as some higher power. 71 Often, however, the kami
are personifications of impersonal fate, as in the following poem.
70
Molting heart
とや心
of morning, one of the biwa’s
朝の小琴の
four strings
四つの緒の
kami has forever
ひとつを永久に
cut and thrown away
神きりすてし
Toya (鳥屋) is a birdhouse, and from its use in falconry it has also come to mean a
hawk’s molting at the end of summer. 72 The shedding of feathers or hair gives a visual
image of her pained heart’s falling to pieces, and the broken biwa (small koto) string
echoes her internal twangs and pangs. 73 In contrast, the sense of toya as a kabuki green
room, emphasizing the enclosure of a spirited singing creature waiting to escape,
suggests anticipation and effervescence. While such a sentiment is in tune with many
poems from Tangled Hair, and accurately reflects Akiko’s own cloistered youth, in this
case it works against the poem’s thrust. Instead, toyagokoro points to the heart’s end of
summer, a time thrown away forever with the springtime of youth. The biwa’s four
strings are the seasons of life, one of which has been cut.
71
See also the discussion of poem 207 below in the section on sin.
72
In addition, it can be used to describe the loss and thinning of hair by syphilitic
courtesans, or the green room near the hanamichi for kabuki actors.
73
Among the various stringed instruments that can be called koto, the biwa is a small,
four-stringed instrument similar to a lute. See William P. Malm, Japanese Music and
Musical Instruments (Rutland, VT: Charles E. Tuttle, 1959), 94.
197
The final line has a homophone for hair-cutting, 髪切り (kamikiri). Women who
took Buddhist vows, often because they had been widowed or deserted, would have their
hair ceremonially cut. Thus, kamikiri suteshi is a metonym for a discarded lover. A
woman whose heart is molting after missing her season of love might feel like a
discarded lover. The cutting of a biwa string resembles the cutting of her hair. But
because the poem writes the word kami with the character for deity (神) instead of hair,
the sense of hair-cutting is tangled with the sense of being discarded by (or possibly
discarding) a divine lover. The word play of deity and hair is especially satisfying
because the religious import of abandonment by a deity contrasts with the cleansing act
of taking Buddhist vows. As written, the kami rules coldly over the fatalistic passage of
time, without a clear connection to any judgment on the character’s actions. The irony,
then, is that a divine figure is made the scapegoat for the transient seasons of human
life, even as the speaker purifies her passions in symbolically moving beyond the season
of lust embodied in her flowing hair.
The poem below is a more climactic encounter with kami and koto:
97
The rule of the kami,
神のさだめ
the peal of a life,
命のひびき
the end of my world—
終の我世
listen to the sound
琴に
of ax striking koto
音ききたまへ
うつ
It is unclear whether it is the speaker or the kami who strikes the koto. As in the
previous poem, the koto represents her life. Both are injured and ring out. Here, her
life is not forsaken to go slowly out of tune, warp, and crack with age; rather, she is dealt
198
a decisive blow that makes her cry out against the hand of destiny. The ax is no mere
broken string, no passing of a season of life, but something more acute, complete, and
immediate: the loss of love. To whom, though, does she plead to “listen to the sound”?
Is it the kami, or her former lover? Again, if we see the kami as her lover, and his rule as
his decision, then she appeals to him as if he were a god. Such a futile appeal makes the
poem sound especially tragic (or perhaps it is the destruction of a musical instrument
that is so painful to contemplate).
Akiko’s pleas to divine assistance in love seem to have found attentive ears and a
vocal response in the following poem:
52
A beautiful life,
うつくしき
it would be a pity,
命を惜しと
the kami said,
神のいひぬ
and my wish
願ひのそれは
has now been granted
果してし今
Yet the kami’s benevolence is simply to let mortal humans live; falling in love is business
they can take care of on their own. 74 Nor does the poem articulate a specific action of
the kami. We infer, and Cranston’s translation specifies, that the pity would be for the
kami to take such a beautiful life away, although it could be simply a matter of the life’s
going to waste without love. 75 The wish—alternatively, prayer—that is granted is
likewise left to the reader’s imagination. It is a poem less about divine intervention than
74
Itsumi writes in her analysis of the poem, “Akiko’s humanistic opinion was that
supreme love cannot be achieved through divine power.” Itsumi, 96.
75
Cranston’s version is as follows: “So beautiful— / A life I should regret to take, The
god says now, / Though the bargain that we made / He has kept at last.” Cranston,
“Carmine-Purple,” 102.
199
about divine non-intervention. The ending ima (now) punctuates the poem with an
insistence on her present and a refusal to countenance the transience that stalks the
poem.
If the kami is her lover, however, we can read the poem quite differently. What
the kami says could be the negai (wish), which she grants, while the reflection on pity at
the beginning could be the speaker’s. Hence:
A beautiful
life, it would be a pity (I thought),
and that wish
the kami spoke
I have now granted
The beautiful life to be pitied could be either hers or his, and the pity is for the prospect
of life’s failure to find or consummate love.
Akiko’s supernatural poems seem to stage and then blur the tensions between
physical beauty and a spiritual sublime. The poetic speaker’s feminine physical beauty
does not simply have a counterpart in a masculine spiritual sublime, in spite of her
frequent appeals to a kami lover. 76 Susan Napier’s study of the fantastic in modern
Japanese literature offers valuable insights into the potential for sublimity in the
intersection of women and the supernatural. Although she passes over poetry entirely,
Napier taps into the special power of “avenging women”:
76
Ban Wang shows that the sublime is traditionally interpreted as a “masculine mode”
in Western aesthetics, but then argues that theorists such as Liang Zongdai have shown
the potential for the feminine to be sublime as well. I agree, although I do not see the
need for recourse to theories of yin and yang or the Nietzschean dichotomy between
Apollinian and Dionysian. Ban Wang, The Sublime Figure of History: Aesthetics and
Politics in Twentieth-Century China (Stanford: Stanford University Press, 1997),
101-122.
200
The association of women with ghosts and metamorphosis is also an
important part of Japanese tradition, encompassing everything from the
Nō and kabuki theaters to the woodblock prints of the early nineteenth
century and even the post-Restoration era. . . .After the Restoration,
however, such melodramatic depictions of women and the supernatural
were increasingly regarded as old-fashioned or vulgar, although the
depiction of demonic women remained a favorite subject of popular artists
and journals.77
Note here the negative class marking that attaches to demonic women, who come to be
seen as “melodramatic” and “vulgar” figures even as they remain “popular” (here used in
a class-based way). Also note that vulgar is associated with “old-fashioned.” In other
words, the trope of feminine, supernatural, avenging power loses status at the same time
that it comes to seem out of date. This happens also to be when newer tropes are
coming into fashion from contact with the West.
Napier also points to a second character that develops in the Meiji and Taishō
eras, the “oasis woman.” The oasis woman is “linked to a space outside of the real which
offers comfort and revitalization to the weary male.” 78 Such a character is not limited to
fantastic literature, but appears in realistic works, too. Yet note the female character’s
subordinate position as object in the male subject’s desire for an alternative to reality.
While often that alternative can be exotic and future-oriented, as in Tanizaki
Jun’ichirō’s (谷崎潤一郎, 1886-1965) portrayal of the vaguely “Eurasian” modern girl
Naomi in A Fool’s Love (痴人の愛: Chijin no ai, 1924), the oasis woman can be nonmodern, as well. For she is “linked not only to an alternative to consensus reality but
77
Susan J. Napier, The Fantastic in Modern Japanese Literature: The Subversion of
Modernity (New York: Routledge, 1996), 23.
78
Napier, 23.
201
also to an alternative which frequently embraces traditional Japan.” 79 Female
characters in literature are well suited to their role as “symbols of cultural
retrenchment.” 80 This ideological burden on women is part of a gendered dichotomy
between material and spiritual, similar to what Partha Chatterjee describes in
postcolonial societies, that casts women as the sheltered, spiritual embodiment of
indigenous tradition, in contrast to the public, materialist male role. 81 Such an
ideological distinction would have added extra weight to the invocation of spirituality
and religion poetry by a woman (as author or speaking voice); in Akiko’s case, the
significance is further emphasized by the transgression of religious boundaries as well as
her use of both indigenized Buddhist and Shinto symbols and the still somewhat exotic
—and therefore decidedly anti-traditional—Christian symbolism.
Is there a link between the gendered oasis Napier describes and the metaphysical
elements of Akiko’s verses? In the case of Tangled Hair, the figures do not tend to be
anti-realist or “fantastic” in the sense Napier means by the term. But as shown above,
even realist works can employ this trope. So, while the personae are hard to read as
ghostlike or fantastic, the more salient difference is that the agency belongs to women.
The women of the verses (for why say it is just one woman throughout?) are not there
just to stoke or allay men’s anxiety, even if they have such effects on male readers.
Rather, they look to multiple sources to snag the fabric of reality, and these sources are
79
Napier, 23.
80
Napier, 23, quoting Nina Auerbach, Woman and the Demon: The Life of a Victorian
Myth (Cambridge: Harvard University Press, 1982), 73.
81
Partha Chatterjee, The Nation and Its Fragments: Colonial and Postcolonial
Histories (Princeton: Princeton University Press, 1993), 121.
202
found in male lovers whom they name as gods, in themselves or parts of themselves
(such as their hair), or in other religious symbols that evade simple explanation. The
following example illustrates this well:
40
A tangled feeling,
みだれごこち
a lost feeling—
まどいごこちぞ
for the kami who so frequently
頻なる
tramples the lily,
百合ふむ神に
I cannot even cover up my breasts
乳おほひあへず
On the other hand, consonant with Napier’s judgment that fantastic works have a
“creative energy that allows for more narrative creativity and excitement than in many
realistic texts” afforded by women beyond the pale, 82 Akiko’s religious symbolism opens
up poetic creativity.
Ghostlike figures in Nō and other literature, often female, portray excessive
attachment to the world. At the same time, they offer their interlocutors, often male, a
means of escape from that world. The figures in Tangled Hair are not ghosts, and their
connection to “earthly passions” is not suffused with a Buddhist notion of attachment.
Instead, their means of escape from the world is in passion itself, passion that has been
exalted to a metaphysical standing and allows them to consort with the supernatural.
Tsumi: I’ve Got You Under My Sin
Many of Akiko’s best-loved poems face the moral judgments that condemn
female sexuality as sinful or transgressive, but they do this in various ways. Some
82
Napier, 24.
203
poems question the judgment of sin altogether; others accept that judgment, either
gladly or repentantly. But we must first consider the concept of sin as used in the
poems, because sin is a powerful concept that invokes ideals and norms that tie human
action to divine law and the natural to the supernatural.
The word “sin” in English refers primarily to a transgression against religious
law. 83 The Japanese tsumi (罪), meanwhile, can mean the breaking of a religious taboo
or law, but it can also mean social offense, crime, guilt, blameworthy point,
consciousness of evil, or censure. According to The Great Dictionary of the Japanese
Language (日本国語大辞典: Nihon kokugo daijiten), both religious and secular
meanings of the term date back to The Record of Ancient Matters (古事記: Kojiki, 712
CE), establishing the use of the term long before contact with Christianity. 84 The
dictionary lists an adverbial form of tsumi, as well: “in a way that causes others sadness,
suffering, or confusion; mercilessly.” Citations for this usage include Natsume Sōseki’s
(夏目漱石, 1867-1916) I Am a Cat (吾輩は猫である: Wagahai wa neko de aru, 1905-06)
and Mori Ōgai’s (森鴎外, 1862-1922) Wild Geese (雁: Gan, 1911-13). Also of note is the
entry on tsumi ga nai (罪がない): the first sense is “having no blameworthy points;
83
When used otherwise, it is usually humorous hyperbole to emphasize how bad (such
as a sin against fashion) or good (sinfully delicious chocolate) something is. Yet while
sin can be a useful metaphor in any language, what concerns us in the case of Tangled
Hair is how the discourse of sin is not placed at a metaphorical distance from its subject.
(Metaphor is, after all, a device that depends on the literal non-identity of tenor and
vehicle.)
84
Nihon kokugo daijiten (Great dictionary of the Japanese language), Select edition,
vol. 2 (Tokyo: Shōgakukan, 2006), 1584.
204
without faults; free of blemishes.” The Tale of Genji is cited twice for this sense. The
second sense is “innocent [無邪気である: mujaki de aru].” Examples of this usage come
from Futabatei Shimei’s (二葉亭四迷, 1864-1909) Floating Clouds (浮雲: Ukigumo,
1887-89), Ōgai’s Impromptu Poet (即興詩人: Sokkyō shijin, 1901; a translation of Hans
Christian Andersen’s [1805-75] Improvisatoren), and Sōseki’s I Am a Cat.
From the citations given above, we gain a sense of the currency of tsumi in
literature of the turn of the century. One more example, a noteworthy application of
tsumi to a love poem by a contemporary of Akiko, is the poem “Sin” by none other than
Shimazaki Tōson. 85 In this poem, the speaker enumerates various ends to which sin
leads lovers. The sin here is clearly biblical, with its references to the expulsion of lovers
from a garden and punishment after death.
Akiko would have been more familiar with the Genji than the Buddhist classics,
but it would be foolish to speculatively distinguish her exposure to, or employment of,
different lines of descent of the concept of tsumi. More inviting is the prospect of
interpreting how concepts like tsumi changed or were challenged with the increased
cultural exchanges of the Meiji period. Akiko’s poetry antedates the New Woman
debates by a decade, but it also trails behind discussions of natural law in the early Meiji
85
“Sin” (罪: Tsumi) first appeared as “Because of Sin the Pathos” (罪なれば物のあはれ
を: Tsumi nareba mono no aware o), the first of a series of poems under the general
title “From Heart to Heart” (胸より胸へ: Mune yori mune e), in the May 1900 issue of
The New Novel (新小説: Shinshōsetsu), and then was titled simply “Sin” when it was
published in Fallen Plum Blossoms the following year. Shimazaki Tōson, Rakubaishū
(Fallen plum blossoms) (Tokyo: Shun’yōdō, 1901), 80-81.
205
period and the translation of the Bible into Japanese in the 1880s.
In the traditional Buddhist context suggested by certain poems of tsumi, the
burden of avoiding transgression seems to fall more on the men. Dating back to the
medieval period, as Reginald R. Jackson notes, the misogyny of Buddhist monastic
societies led them more to “contempt” than “compassion” for women.86 Women may
threaten the precarious order of marginal groups of ascetic monks, but to them is
attributed neither moral agency nor the purity to begin with. Thus, as Jackson writes of
the exclusion of women from a temple ceremony in the Nō play Dōjōji (道成寺), “since
women’s subversion is contingent upon male desire and transgression, the real threat to
the male religious community’s cohesion is posed by the men themselves.” 87 In poems
involving the mutual transgression of monk and maiden, then, Akiko’s poetic speaker
trespasses like the female dancer in Dōjōji, and her danger is felt by her monk-lover, as
in the following:
121
At the sound of the flute
笛の音に
he stopped the hand
法華経うつす
that copied the Lotus Sutra
手をとどめ
and knit his brow—
ひそめし眉よ
still so young
まだうらわかき
The word tsumi appears in eight Tangled Hair poems, including two of the first
five as numbered in the printed volume. This helps to set a certain tone for the series.
86
Reginald R. Jackson, “Midare Performance and the Aesthetics of
Decomposition” (Ph.D. dissertation, Princeton University, 2007), 225.
87
Jackson points out that the transgression in the play is even more complicated,
because the woman both is marked as a “performer” more than as a “woman” and
adopts a shifting gender identity. Jackson, 232.
206
2
Heed this song:
歌にきけな
who dislikes the red
誰れ野の花に
of the flowers in a field?
紅き否む
such charm has the child
おもむきあるかな
who bears the sin of spring
春罪もつ子
The attitude towards sin in this poem is dismissive of it as a very category. Here, the
speaker of the poem asks the undisclosed audience to listen to a particular song or
poem, or perhaps to song or poetry in general, or even—as the translation here reflects—
to the very poem she is reciting. The “red of the flowers in a field” could be red flowers
among others, or it could be specifically the color red. The fourth and fifth lines
describe a child (ko, which implies but is not necessarily a girl) who bears the sins of
spring, or possibly a child who bears sin in spring.
These multiple possible readings enhance the poem’s effect, forcing the reader to
make interpretative judgments. First, why should a red flower be judged more
negatively than any other flower? Red is lustful, but the color of a flower is in its nature,
so one should not denounce or deny the lustfulness that is in one’s nature. Tsumi motsu
ko implies the original sin of all humans, who are tsumi no ko (children of sin; see also
poem 228 below) as children of Adam and Eve. But not all flowers in the field are red,
so to posit original sin as the cause of the red misses the biblical universality of human
sin. It is as if to say, if some individuals are especially amorous, why should we judge
them? The field itself is relevant to this question, though. 野 (no) is wild space.
Anything that grows there is suspect as untamed, but also as untainted.
Second, how does the child come to carry “the sin of spring”? Has she simply
207
picked red flowers? Or is she a red flower waiting to be either picked or rejected? Akiko
triumphs in equating passion with innocence, juxtaposing two different common
associations of flowers. The natural innocence of the flowers calls to mind the epigraph
to this chapter by Baudelaire: “Evil is done effortlessly, and naturally, by fate.” The
implied passion of the flowers’ red is passive, while the child actively bears sin. The
flower cannot help having its color, but the child is expected to overcome its predilection
for sin.
If we assume the child is a girl, it may be for our prejudicial association of both
flowers and the sin of lust with femininity. Or, more charitably, perhaps we assume that
poets who would dare to think of calling lust a sin are the type to pin it on women and
girls. The implicit femininity of the child, ko, allows the judgment of lust as sinful to
attach itself insidiously to women and not men. But Akiko’s poems challenge such a
gendered assignment of sin, either by directly defying such judgment or by pinning it on
both men and women—often ironically. Below is a poem in which both the woman and
her lover are sinful:
228
Clear water of my breast
むねの清水
flooding, and at last
あふれてつひに
it has clouded—
濁りけり
you a child of sin
君も罪の子
and I a child of sin
我も罪の子
This poem suggests that too much purity can cloud one’s judgment. But by associating
sin with clear water and children, is the speaker not undermining the very judgment of
sin itself? The great unspoken message of the poem is that the speaker is overflowing
208
with emotion and resolute in embracing her fate. In spite of what she says, then, her
judgment is not clouded at all.
In the following poem, however, it remains ambiguous whether the “child of sin”
refers to the speaker or to her lover:
293
Take no pity
そのなさけ
on me, my lord—
かけますな君
rather tell me
罪の子が
the child of sin has seen
狂ひのはてを
the extremes of insanity.
見むと云ひたまへ
Itsumi takes the child of sin to be the speaker, and she points to Akiko’s need to confess
to Tekkan, who was still married to another woman. 88 But there is no reason it cannot
be the man (especially if he is married), particularly in light of her use of “child of sin” to
refer to a man in poem 228 above. Is she to be pitied because she is sinful, or because
she must put up with his sinfulness?
Likewise, the following poem rejects the assignment of sin to the woman for what
the man does:
143
Is it a sin
人の子に
to offer a mere man
かせしは罪か
my arm?
わがかひな
The kami must grant
白きは神に
how white it is
などゆづるべき
In a usage note, the dictionary distinguishes tsumi from toga (咎: fault), noting
that tsumi refers to conscious violations while toga refers to unconscious violations or
88
Itsumi, 126.
209
faults. In the Heian period, tsumi came to predominate and even took on some of the
meaning of toga, but since the medieval period toga has been used more frequently,
especially in colloquial language. Akiko uses the word toga three times in Tangled
Hair, and here she uses it together with kami in the following poem, suggesting a
religious connotation to toga:
207
With crimson
山蓼の
deeper than that
それよりふかき
of the mountain nettle,
くれなゐは
restrain yourself, plum,
梅よはばかれ
you’ll pay the kami for your wickedness 神にとがおはむ
Itsumi interprets poem 207 based on biographical evidence that Akiko, Tekkan, and
Tomiko had gone together to view nettles the previous autumn, and that Tekkan
associated Tomiko with nettles. 89 Now with just the two of them, Akiko fears getting
carried away by her passion. Here, Tekkan is not the kami, but rather the plum (which
was his nickname).
Akiko’s poetry is full of consciousness of guilt, but it is never explicit what the
cause is, leaving it instead suggestive and metaphorical. In tandem with the guilt is the
rebellion of one who tries to reject the guilt imposed by society. Both are expressed in
the language of a gallimaufry of inauthentic religious symbolism, as if to avoid letting
any negative judgment stick.
Sin, wickedness, and transgression can be implied more subtly, without naming
89
This is in addition to Tomiko’s better known nickname, White Lily, which appears
frequently in Tangled Hair. Akiko is associated with white bush clover. Itsumi, 257,
315.
210
them. One trope Akiko uses is that of the “stray sheep,” which came to Japan with
Christianity in the sixteenth century and became a popular phrase in the Meiji and
Taishō periods. 90 The next poem also portrays the speaker as both innocent and cursed:
38
In the spring rain
春雨に
wandering lost
ゆうべの宮を
out of the shrine at evening,
まよひ出でし
a lamb looking for you,
小羊君を
cursed am I
のろはしの我れ
The lamb has wandered out of what appears to be a Shinto shrine, however. The rain
makes the mood somber and downplays her hope that, in being found, she will be going
even further astray. 91 The poem achieves its effect by gaining sympathy for the lamb’s
ambivalence towards being lost and at the same time full of longing.
The same trope of a wandering sheep or lamb works in the following poem, too:
24
Kami of night,
夜の神の
won’t you take the sheep
朝のり帰る
that returns home
羊とらへ
at morning and hide it
ちさき枕の
under a small pillow
したにかくさむ
90
Goldstein and Shinoda, 128. Akiko describes a lost lamb six poems later in poem 44,
too, and sheep appear in three more poems (numbers 24, 266, 391).
91
Ichikawa believes the lamb, which need not be a Christian symbol, is a stand-in for
Ukifune from The Tale of Genji. She bases this on the evidence that Ukifune considers
herself like a sheep about to be taken to the slaughterhouse. Ichikawa Chihiro, “Yosano
Akiko to Genji monogatari: Midaregami to ‘Ukifune’ o megutte” (Yosano Akiko and The
Tale of Genji: the case of Tangled Hair and “Ukifune”), Heian-chō bungaku kenkyū 1:2
(Oct. 1983), 103-104.
211
Conclusion: Beyond Feminine Poetic Heritage and True Feelings
Akiko’s poetry is both a reaction against the realism of contemporaries like
Masaoka Shiki, and, like European Romantic poetry, a reaction against what we might
call enlightenment values of the Meiji period. But for Akiko, or for any writer of the
tanka form, its brevity limits the kinds of confession or revelation that can be
transmitted to readers. That brevity makes it more difficult to express unfamiliar points
of view or beliefs. Yet she does not simply succumb and write only the more familiar
sentiments—although she naturally also includes plenty of those, in such poems as this:
321
Spring is short,
春みじかし
and what has eternal life?
何に不滅の
I said,
命ぞと
and guided his hand
ちからある乳を
to my potent breast
手にさぐらせぬ
But even here, she proceeds from the familiar association of spring with short youth to a
shocking physical gesture of bringing her lover’s hand to her breast. Is her innovation
that her irreverent poetry celebrates transgression? Does she embrace the evil of her
nature, as Baudelaire would have it in the epigraph to this chapter; does she reject the
judgment of evil altogether? Although Akiko the person championed social causes and
was a devoted wife and mother, her poetry does seem to cast off traditional morality:
352
Not speaking of the Way,
道を云はず
not thinking of the hereafter,
後を思はず
not in quest of fame,
名を問はず
here I look at you
ここに戀ひ戀ふ
loving me loving you
君と我と見る
212
Or is Akiko’s passionate turmoil, embodied in her tangled hair, little more than a
marker of “feminine poetic heritage”? Sarah M. Strong, for example, argues that Akiko
“is mining ancient feminine ore” in her “use of tangled hair as a metaphor for the
confusion and turmoil of feminine erotic emotion.” 92 Strong makes a good point that
Akiko’s works are part of “an unquestioned feminine literary heritage” unexampled in
the West, albeit a heritage that is often regarded as “second-tier” in relation to men’s
literature. 93 But Akiko’s poetic speakers are not simply the victims of their gender’s
timeless fate, and to the tangled hair and other conventional symbols must be added less
familiar imagery and references to Christianity along with those from Buddhism and
Shinto. Such exotic and irreconcilable symbols are a source of intrigue, a new way of
stimulating curiosity and emotion in readers. When we leave aside biographical
explanations, we are further freed to explore the possible extensions of the poems.
Akiko herself claimed to reject the borrowing of “ancient feminine ore” in poetry.
As she wrote later about her writing process, poems should be “the outcome of the
overflowing of the powerful emotion of the author, whether in response to the world, to
experiences in the past, or to dreams.” 94 This emotion she labels “true feelings” (実感:
jikkan) and specifies as follows: “[True feelings] are emotions I have actually
92
Sarah M. Strong, “Passion and Patience: Aspects of Feminine Poetic Heritage in
Yosano Akiko’s Midaregami and Tawara Machi’s Sarada Kinenbi,” Journal of the
Association of Teachers of Japanese 25:2 (Nov. 1991), 181.
93
94
Strong, 190.
Laurel Rasplica Rodd, “Yosano Akiko on Poetic Inspiration,” in The Distant Isle:
Studies and Translations of Japanese Literature in Honor of Robert H. Brower, edited
by Thomas Hare, Robert Borgen, and Sharalyn Orbaugh (Ann Arbor: Center for
Japanese Studies, University of Michigan, 1996), 414.
213
experienced; they may be active or passive; they may act on me from outside or impel
me to action, and sometimes they interact within me and produce a new feeling.” 95 For
Akiko, true feelings have five characteristics: truth (真実: shinjitsu), specificity (特殊:
tokushu), freshness (清新: seishin), excellence (優秀: yūshū), and beauty (美: bi).96
There seems to be no room for supernatural fancies (which are disloyal to truth) or
borrowed sentiments from her precursors (which lack freshness).
Nevertheless, the diction and allusion in the poems of Tangled Hair powerfully
resist the move towards realistic description by summoning multiple, contradictory, and
abstract supernatural figures and symbols from the canon and beyond. By exploiting
these various supernatural figures and images, Akiko’s poems tangle with a more
traditional morality, and they make that entanglement, and the possibility of liberation
from it, seem more dangerous, exciting, and vivid than her “true feelings” ever could.
95
Rodd, 415, citing Teihon Yosano Akiko zenshū (Authoritative complete works of
Yosano Akiko), vol. 13, 272.
96
Rodd, 416, citing Teihon Yosano Akiko zenshū, vol. 13, 47.
214
CONCLUSION
Natsume Sōseki (夏目漱石, 1867-1916) beautifully expresses one ideal of the poet and
the painter, through the narrator of his novel Pillow of Grass (草枕: Kusamakura,
1906):
Only thanks to the existence of the poet and the painter are we able to
imbibe the essence of this dualistic world, to taste the purity of its very
bones and marrow. The artist feasts on mists, he sips the dew, appraising
this hue and assessing that, and he does not lament the moment of death.
The delight of artists lies not in attachment to objects but in taking the
object into the self, becoming one with it. Once he has become the object,
no space can be found on this vast earth of ours where he might stand
firmly as himself. He has cast off the dust of the sullied self and become a
traveler clad in tattered robes, drinking down the infinities of pure
mountain winds. 1
I begin the conclusion with this passage not because the title of the work is the same as
Shimazaki Tōson’s “Pillow of Grass” from chapter one, although both fittingly reflect a
concern with artistic meditations on travel, but because Sōseki’s narrator so eloquently
captures the broader artistic ideals and struggles of poets like those in this study. He
invokes a “dualistic world” made up of our daily economic lives, on the one hand, and
something ineffable, on the other.
The irony of Pillow of Grass is that the narrator himself is an unskilled would-be
poet and painter whose attempts at composing poems and paintings during his sojourn
at a mountain spa are mostly abortive. Yet this narrator’s expansive and often
contradictory musings on artistic ideals are infused with a moving poetic beauty and
1
Natsume Sōseki, Kusamakura, translated by Meredith McKinney (New York: Penguin
Books, 2008), 65.
215
picturesque composition. His visions are inspired as much by his communion with
great works of art and criticism, from John Everett Millais’s (1829-96) painting of
Ophelia (1852) to Gotthold Lessing’s (1729-81) Laocoon (Laokoön, 1766), as by his
direct experience of the purportedly natural wonders of the place he is visiting. It is this
synthesis of intertexts with natural scenery that inspires the narrator, who decides that
to be a great artist one does not necessarily have to create great—or any—art. 2
What better way is there, in fact, for this poet to go beyond natural description,
beyond shasei, than to lay down his brush? Instead of forcing a poem to come to him,
instead of forcing nature to speak through him, he lets nature speak to him. Like
Tōson’s traveler in “Rambling Through the Deep Woods,” he seems to be happy to melt
into the poetic landscape. Yet if, as Emerson writes in “The Poet,” he has “penetrate[d]
into that region where the air is music, [where he can] hear those primal warblings,”
then he has learned not to “attempt to write them down. . .and substitute something of
[his] own, and thus miswrite the poem.” Instead, he seems to have taken to heart
Emerson’s subsequent axiom, “Words are also actions, and actions are a kind of
words.” 3 And if, as in the Lucretius epigraph to Bansui’s “The Universe and the Poet,”
he “has traveled through the immeasurable all in mind and spirit,” then none would ever
2
Natsume, 124-25. Kamei Hideo puts the narrator of Pillow of Grass in a category with
Kunikida Doppo’s (国木田独歩, 1871-1908) protagonist in “Musashi Plain” (武蔵野:
Musashino, 1901), among others, of characters who style themselves artists because
they are aesthetes who criticize society from the standpoint of a search for beauty.
Kamei Hideo, Meiji bungaku shi (History of Meiji literature) (Tokyo: Iwanami shoten,
2000), 176.
3
Ralph Waldo Emerson, Selected Writings of Emerson, ed. Donald McQuade (New
York: Random House, 1981), 306.
216
know. 4
But we do know, of course, because Sōseki the author did write the novel. The
narrator, unable to complete a painting, is Sōseki’s artwork, and his actions are his
words. The narrator tries to “become one with the object,” so that there is nowhere “on
this vast earth of ours where he might stand firmly as himself.” If the narrator has
finally learned to live as a true artist, then we readers should now be able to “imbibe the
essence of this dualistic world [and] taste the purity of its very bones and marrow,” not
through his poems and paintings but through him directly. He is like the antique ink
stone that belongs to the abbot of the nearby temple: originally designed to be a tool for
art, but too precious an artwork itself actually to be used.
Sōseki, who around the same time was developing his ambitious Theory of
Literature (文学論: Bungakuron, 1907), 5 succeeds brilliantly in this fictional work at
activating conventional tropes of artists traveling through nature to find both poignancy
and detached humor. Unlike a unified, robust theory of literature in a straightforward
critical work, the theories of a novel’s protagonist—let alone the novel’s other characters
—can be partial, insupportable, and contradictory. They can also be more enjoyable
when they are freed from the constraints of criticism’s earnest author-reader
transmission. Like Yosano Akiko’s poetic speakers, Sōseki’s narrator can contradict
4
Lucretius, De rerum natura (On the nature of things), with trans. W. H. D. Rouse, rev.
Martin Ferguson Smith (Cambridge: Harvard University Press, 1992), 8 (Book I, line
74).
5
See also Natsume Sōseki, Theory of Literature and Other Critical Writings, ed.
Michael K. Bourdaghs, Atsuko Ueda, and Joseph A. Murphy (New York: Columbia
University Press, 2009).
217
himself. He can deny the use of emotion in one moment, saying, “You must forget the
pain of your own broken heart and simply visualize in objective terms the tender
moments,” and then in the next moment say that a “greater artist, however, will impart
his own feelings as he depicts the phenomena and bring them to vivid life on the
canvas.” 6 He can whip up theories of the importance of artistic “nonemotion” (非人情:
hininjō) when he is alone in his hotel room, and then find himself ridiculed for
suggesting that he would like to fall in love “nonemotionally”—which is not the same
thing, he insists, as “unemotionally” [不人情: funinjō].7 His grand ideas, like the novels
he reads, do not have to be followed in any particular order. 8 The contradictory,
nonlinear thoughts and feelings of a flawed artist are like Akiko’s contradictory,
nonlinear verses in Tangled Hair.
Sōseki thus has it both ways, by writing a realist work about a narrator given to
fantasy. 9 Sōseki’s narrator sounds like Tōson’s subjects in “Pillow of Grass” and
“Rambling Through the Deep Woods” when he writes:
6
Natsume, Kusamakura, 31, 67.
7
Natsume, Kusamakura, 43, 97; for the Japanese, see Natsume Sōseki, Kusamakura
(Pillow of grass) (Tokyo: Iwanami shoten, 1972), 44, 108.
8
The narrator seems to be poking Sōseki the scholar in the eye here: Sōseki’s theory of
literature is founded on the stream of consciousness, but the narrator likes to read
novels in random order, thus disturbing the flow. He wants to know “why should it
matter whether you read it from the beginning, or from the end, or just dip into it in a
desultory way?” Natsume, 96.
9
Sōseki referred to Pillow of Grass as a “haiku-like novel,” in contrast to the “senryūlike novels” of the past. (Senryū [川柳] are humorous seventeen-syllable poems.)
Natsume Sōseki, “Yoga ‘Kusamakura’” (My “Pillow of grass”), in Bunshō sekai (World of
letters) 1:9 (Nov. 1906); quoted in Komiya Toyotaka, “Kaisetsu” (Explanation), in
Natsume Sōseki, Kusamakura (Pillow of grass) (Tokyo: Iwanami shoten, 1972), 170.
218
There is no avoiding suffering, rage, flailing, and weeping in the world of
humankind. . . .I find it exhausting to be forced to experience these same
tired stimuli yet again through a play or novel. The poetry I long for is not
the kind that provokes this type of vulgar emotion. It is poetry that turns
its back on earthly desires and draws one’s feelings for a time into a world
remote from the mundane. . . .Happily, in the poetry of the Orient there
are works that transcend such a state. 10
The narrator hopes to stand back and observe “from a lofty and transcendent
perspective. . .to prevent any spark of human feeling from springing up.” 11 In doing so,
he seems to invoke what Terry Giffords calls the pejorative “pastoral”: the idealization of
an unproblematic, “comfortably complacent” vision of a natural antidote to urban
society.12 Yet the genius of Sōseki’s novel is that his narrator can invoke the pastoral—
just as Akiko’s speakers invoke religious sin—without the author’s subscribing to the
same naive ideal. If anything, readers are led to be somewhat dismissive of the need,
and certainly of the efficacy, to travel into the mountains.
Then again, the novel ends with an entourage traveling downstream to a nearby
city to see off young Kyūichi, who is going to fight in the Russo-Japanese War. The train
that comes to carry him away is “the serpent of civilization.” The sense of ominousness
about the urban, industrial, militarized future cannot but lend a pastoral quality to the
world upstream, inhabited by people such as a fisherman who will “likely go on sitting
there, gazing at [his fishing line], until the Russian War is over.” 13
10
Natsume, Kusamakura, 9. The poems that the narrator then adduces to make his
point are classical Chinese poems.
11
Natsume, Kusamakura, 12.
12
Terry Giffords, Pastoral (New York: Routledge, 1999), 2. See also chapter one.
13
Natsume, Kusamakura, 145, 140.
219
Although Sōseki is associated with the realism of his close friend Masaoka Shiki
(正岡子規, 1867-1902) more than with the poetry of Tōson, Bansui, and Akiko, 14 his
narrator is concerned with the poet’s mediated relationship with nature and with the
ideals that lie beyond realism. The narrator’s contradictory statements echo both sides
of arguments made in the Meiji period about the relationship of nature and literature.
Kamei Hideo characterizes the ideological status of nature for Meiji-era writers as
follows:
According to writers of modern Japan, while “nature” was an
important object for practices of expression that sought to revive reality, it
was also a standard. The naturalist literary movement of the latter half of
the Meiji 30s [1902-1906] and the sketching [写生文: shaseibun]
movement of Masaoka Shiki display this well.
Why was “nature” a standard? According to them, it was because
nature was “beauty,” but that was not all. We are engulfed in the
movements of a social totality that surpasses what humans can conceive
and what individuals’ strength can match. Also, they were tormented by
feelings and sentiments that they could not control. In such a time, and
against the backdrop of—or in the midst of—the inevitability of things,
they felt an appreciation for the will of “nature,” which they made out to be
absolute and transcendent. Because of this, when it came to writing about
nature, society, or human beings, they thought it would not do to twist and
embellish on their subject according to their own wishes, and they made it
their ideal to write on subjects with an impartial attitude. To make an
ideal is also to make a personal standard. Nature has no private feelings.
Therefore, to confront it one must be impartial. That which is expressible
by this method they called “truth.” In their meaning, “nature” was the
source of “beauty” and “truth.”
This may be hard to understand for people who think of “nature” as
the opposite of “culture,” but according to them respecting “nature” as it
was was the very best “cultural” attitude. 15
14
See, for example, Wada Toshio, Shiki to Sōseki (Shiki and Sōseki) (Tokyo:
Merukumaarusha, 1976), 140.
15
Kamei Hideo, Meiji bungaku shi (History of Meiji literature) (Tokyo: Iwanami shoten,
2000), 81.
220
Iwamoto Yoshiharu’s (巌本善治, 1863-1942) ideal of artistic description, for
example, depends on the inherent value of nature. “The greatest literature,” he writes in
1889, “is that which reproduces nature just the way nature is. The most beautiful art
never accompanies immorality.” 16 Note how he equates beauty with morality on the
basis of an implied truthfulness, while also implying that morality is merely the absence
of immorality.
Mori Ōgai (森鴎外, 1862-1922), arguing against Iwamoto, sees artistic inspiration
as artificial:
Self-aware thought is “mind” [精神: seishin]. Unself-aware “thought” is
“nature.” “Beauty” sleeps in “nature” and awakens in “mind.” The
“beauty” that is proclaimed within “mind” is called “fantasy” [空想: usually
kūsō, but here glossed phonetically as fantajii]. The “beauty” that
“fantasy” achieves is from “nature.” But “nature” is not reproduced in its
“natural” state within the mind. The fire of “thought” kindles some
quantity of dust that supplements “nature,” creating “beauty.” 17
Ōgai thus acknowledges nature as the source of beauty, but he argues that it requires
some transformation in the mind of the artist to be manifested as beauty. That beauty is
separated from truth, and it has no necessary connection with goodness.
What both Iwamoto and Ōgai seem to miss, but what Kitamura Tōkoku (北村透
谷, 1868-94) recognizes, is the importance of the connection of nature not only to beauty
but also to passion. In his 1892 essay “World-Weary Poets and Women” (厭世詩家と女
16
Iwamoto Yoshiharu, “Bungaku to shizen” (Literature and nature), Jogaku zasshi
(Women’s learning magazine), no. 159 (April 1889); quoted in Kamei, 167.
17
Mori Ōgai, “Bungaku to shizen” (Literature and nature), Kokumin no tomo (Friend of
the people), no. 50 (May 1889); quoted in Kamei, 168.
221
性: Ensei shika to josei), he writes that “when love is clear, it penetrates beauty and
truth.” 18 In 1894, Tōkoku proclaims, “At the root of realism there must be passion;
without passion it is hard for there to be anything more than description for the sake of
description.” 19 Tōkoku injects the idea of the divine into individual passion and
introduces that passion into literary representation. This is the dawn of Romanticism in
Japanese literature, and Tōkoku has a direct influence on Tōson’s writing through their
joint participation in Literary World (文学界: Bungakkai).
By 1906, when Sōseki’s Pillow of Grass was published, the Japanese Symbolist
movement (象徴派: shōchōha) was beginning to flourish. Ueda Bin’s (上田敏,
1874-1916) appealing translations of French poetry (which included Parnassians as well
as Symbolists) came out in 1905 and were collected in Sound of the Tide (海潮音:
Kaichōon, 1905). In the same year, Kanbara Ariake (蒲原有明, 1875-1952) published
Birds of Spring (春鳥集: Shunchōshū, 1905), a breakthrough work in the Symbolist
mode. “Symbolist poetry,” Earl Jackson, Jr., argues, “requires the tension produced by
contradictory movements of transcendence and reflexivity, the former toward an extrasemic level of meaning, the latter toward the sign-system of the poetic language itself.
The transcendent impulse posits an exterior focus in the signifying process that the
18
Kitamura Tōkoku, “Ensei shika to josei” (World-weary poets and women), in Tōkoku
zenshū (Tōkoku’s complete works), vol. 1 (Tokyo: Iwanami shoten, 1950), 255.
19
Kitamura Tōkoku, “Jōnetsu” (Passion), in Kitamura Tōkoku shū (Kitamura Tōkoku
collection), in Meiji bungaku zenshū (Complete works of Meiji literature), vol. 29
(Tokyo: Chikuma shobō, 1976), 156; quoted in Karatani Kōjin, Origins of Modern
Japanese Literature, trans. ed. Brett de Bary (Durham: Duke University Press, 1993),
29-30.
222
reflexive function subverts.” 20 Both the transcendent impulse and the reflexive function
undermine the individual passion that Tōkoku had proclaimed.
At the same time, however, the first so-called Naturalist works of fiction began to
appear, beginning with Tōson’s Broken Commandment (破戒: Hakai, 1906) and
Tayama Katai’s (田山花袋, 1871-1930) Futon (蒲団, 1907). William F. Sibley credits the
Naturalist movement, riddled with “egocentricity” though its output may have been,
with “the emancipation of post-Restoration literature from an unproductive dependence
on extraneous models, both Western and Japanese.” 21 The more successful works may
indeed have what Edward Sapir calls “the illusion of absolute freedom” we find in “great
art.” 22 But as Sapir also reminds us, “Language is itself the collective art of expression, a
summary of thousands upon thousands of individual intuitions. The individual goes
lost in the collective creation, but his personal expression has left some trace in a certain
give and flexibility that are inherent in all collective works of the human spirit.” 23
Writers cannot stand outside of literary history, and they cannot entirely hide in
either nature or language. Instead, as Tōson, Bansui, and Akiko have done, they can
make the best of secondary natures, allusive language, and reflection on poetic ideals
themselves.
20
Earl Jackson, Jr., “The Heresy of Meaning: Japanese Symbolist Poetry,” Harvard
Journal of Asiatic Studies 51:2 (Dec. 1991), 573.
21
William F. Sibley, “Naturalism in Japanese Literature,” Harvard Journal of Asiatic
Studies 28 (1968), 160, 169.
22
Edward Sapir, Language: An Introduction to the Study of Speech (New York:
Harcourt, Brace, 1921), 236.
23
Sapir, 246.
223
APPENDIX: ENGLISH TRANSLATIONS OF SELECTED POEMS
A. From Shimazaki Tōson’s Seedlings (若菜集: Wakanashū, 1897)
1. Song of the Autumn Wind (秋風の歌: Aki kaze no uta)
Unrelieved loneliness in my mountain home,
tousling the pampas grass the autumn wind blows
さびしさはいつともわかぬ山里に
尾花みだれて秋かぜぞふく
Silently the autumn wind comes
しづかにきたる秋風の
Rising from the western sea;
西の海より吹き起り
Dancing, lifting, romping white clouds fly,
舞ひたちさわぐ白雲の
Their course is clear to see.
飛びて行くへも見ゆるかな
Upon hearing the sound of the koto
暮影高く秋は黄の
On the tips of the golden foxglove,
桐の梢の琴の音に
Autumn with its long evening shadows
そのおとなひを聞くときは
Knows the wind has arrived.
風のきたると知られけり
At evening the west wind blows,
ゆふべ西風吹き落ちて
At morning autumn leaves come in the window;
あさ秋の葉の窓に入り
At morning the autumn wind blows,
あさ秋風の吹きよせて
At evening the quail hides in its nest.
ゆふべの鶉巣に隠る
Crane to see the green mountains,
ふりさけ見れば青山も
They have been dyed by maples;
色はもみぢに染めかへて
The frosty leaves brought on the autumn wind
霜葉をかへす秋風の
Are revealed in the mirror of the sky.
空の明鏡にあらはれぬ
How chill is the west wind
清しいかなや西風の
When it first blows the autumn leaves;
まづ秋の葉を吹けるとき
How cruel is the autumn wind
さびしいかなや秋風の
When it reaches those maple leaves.
かのもみぢ葉にきたるとき
224
As the Brahmans who teach the Way
道を伝ふる婆羅門の
Scatter to the east and west,
西に東に散るごとく
Wafted on the autumn wind
吹き漂蕩す秋風に
The leaves in the trees flutter away.
飄り行く木の葉かな
As the hawks’ and eagles’ wings
朝羽うちふる鷲鷹の
Flap away each day from dawn to dusk,
明闇天をゆくごとく
How hard the autumn wind blows them,
いたくも吹ける秋風の
Its own wings have voices and they have power.
羽に声あり力あり
See how clever the west wind
見ればかしこし西風の
Sweeps the leaves of the mountain trees;
山の木の葉をはらふとき
How doleful is the autumn wind
悲しいかなや秋風の
When it casts down the countless autumn leaves.
秋の百葉を落すとき
Though men may wave their swords about,
人は利剣を振へども
Their waving must come to an end;
げにかぞふればかぎりあり
And tongues that curse the present age
舌は時世をのゝしるも
Have voices that are soon snuffed out.
声はたちまち滅ぶめり
High and fierce, O autumn wind,
高くも烈し野も山も
You confound the breath of hills and fields;
息吹まどはす秋風よ
Until you wither and dry the world out,
世をかれがれとなすまでは
There shall be no end to your blowing.
吹きも休むべきけはひなし
How lonesome is the autumn sun
あゝうらさびし天地の
Within the bowl of heaven and earth;
壺の中なる秋の日や
Who knows where the wind is headed,
落葉と共に飄る
Flying with the fallen leaves?
風の行衛を誰か知る
225
2. Rambling Through the Deep Woods (深林の逍遥: Shinrin no shōyō)
When the echo of the carpenter’s
力を刻む木匠の
Life-stealing hatchet dies away,
うちふる
And the chisel that carves up spring’s grasses
春の草花彫刻の
And flowers has ceased ringing,
鑿の韻もとゞめじな
Of the many-colored spring leaves
いろさまざまの春の葉に
Not one green brushstroke remains;
青一筆の痕もなく
The red camphor tree of a thousand branches
千枝にわかるゝ赤樟も
Is in its natural state,
おのづからなるすがたのみ
The cypress is wild, the cedar straight,
檜は荒し杉直し
The five-needled pine is black, and the chinquapin
五葉は黒し椎の木の
Branches cross with the white evergreen oak,
技をまじゆる白樫や
The chinaberry stalks fan out,
樗は茎をよこたえて
And the gentle young maple
枝と枝とにもゆる火の
Has a flame on every twig.
なかにやさしき若楓
Mountain Spirit
のあとを絶え
山精
Someone knows
ひとにしられぬ
The deep forest
たのしみの
And its joys
ふかきはやしを
Unknown to men.
たれかしる
Someone knows
ひとにしられぬ
The misty depths
はるのひの
And its spring days
かすみのおくを
Unknown to men.
たれかしる
Tree Spirit
木精
The violet of the flowers,
はなのむらさき
The green of the leaves,
はのみどり
The threads of young grasses
うらわかぐさの
By the meadow’s edge:
のべのいと
226
With fullness of skill
たくみをつくす
A grand design
大機の
Has come to weave
梭のはやしに
The forest brocade.
きたれかし
Mountain Spirit
山精
Treading on these grasses
かのもえいづる
Flaming up,
くさをふみ
Drinking of the waters
かのわきいづる
Bubbling forth,
みづをのみ
Spellbound by these flowers
かのあたらしき
Newly budding—
はなにゑひ
These fond spring thoughts
はるのおもひの
Shall never fade.
なからずや
Tree Spirit
木精
Cast aside
ふるきころもを
Those winter robes,
ぬぎすてゝ
And attire yourself
はるのかすみを
In the mists of spring.
まとへかし
Drawn out by the song
なくうぐひすの
Of the bush warbler,
ねにいでて
Sing
ふかきはやしに
In the deep woods.
うたへかし
Each step tramples an orchid flower,
あゆめば蘭の花を踏み
Wild plum petals land on my sleeves,
ゆけば楊梅袖に散り
And mountain ivy wraps around my hems;
袂にまとふ山
Turning over an ivy leaf, I find
の
のうら葉をかへしては
In the shade of a fern a mountain strawberry
227
女蘿の蔭のやまいちご
Has dropped its colorful fruit;
色よき実こそ落ちにけれ
Each corner of the hillscape
岡やまつゞき隅々も
Slopes gently into the distance,
いとなだらかに行き延びて
And through the deep woods of the valley
ふかきはやしの谷あひに
The scent of asters spreads;
乱れてにほふふじばかま
In the valley flowers bloom, in the valley they scatter, 谷に花さき谷にちり
And unknown to men they decay;
人にしられず朽つるめり
As I approach from the dark ravine I find
せまりて暗き峡より
The trees of the deep mountains open into a clearing, やゝひらけたる深山木の
And spring shows forth in the tree branches.
春は小枝のたゝずまひ
Scraping past the dense leaf-tips
しげりて広き熊笹の
Of overgrown wide-leaf bamboo grass,
葉末をふかくかきわけて
I come to the far edge of the valley to look;
谷のかなたにきて見れば
Where does the waterfall lead?
いづくに行くか滝川よ
A brocade of white with a lonely voice
声もさびしや白糸の
Falls on the green rocks;
青き巌に流れ落ち
At least for the young monkeys,
若き猿のためにだに
The sound never lets up.
音をとゞむる時ぞなき
Mountain Spirit
山精
Someone knows
ゆふぐれかよふ
The love in the breast
たびゝとの
Of the traveller
むねのおもひを
Making his way at dusk.
たれかしる
Someone knows
友にもあらぬ
The heart of spring
やまかはの
In the mountain stream
はるのこゝろを
That has no companion.
たれかしる
Tree Spirit
木精
A sorrow
夜をなきあかす
228
That weeps the night away
かなしみの
Leaves tears
まくらにつたふ
On its pillow.
なみだこそ
To the bottom
ふかきはやしの
Of the deep woods’
たにかげの
Valley shadows
そこにながるゝ
The droplets flow.
しづくなれ
Mountain Spirit
山精
When the buck
鹿はたほるゝ
Founders,
たびことに
His thoughts return
妻こふこひに
To the mate he loves.
かへるなり
When the fields
のやまは枯るゝ
And hills wither,
たびごとに
They return
ちとせのはるに
To an eternal spring.
かへるなり
Tree Spirit
木精
Bury
ふるきおちばを
The old fallen leaves
やはらかき
In the shade
青葉のかげに
Of the soft green leaves.
葬れよ
Wake up from
ふゆのゆめぢを
Your winter’s dream
さめいでゝ
And come
はるのはやしに
To the spring forest.
きたれかし
Even now the wind sweeps the deep mountain,
今しもわたる深山かぜ
And spring blows quietly through;
春はしづかに吹きかよふ
229
As I listen to the lonely sounds of the forest,
林の簫の音をきけば
Drawn in by the melody of the wind,
風のしらべにさそはれて
Not put off, though seeing the white cloth of clouds
みれどもあかぬ白妙の
Whose feathered sleeves alight on then lift away from 雲の羽袖の深山木の
A thousand branches deep in the mountain forest,
千枝にかゝりたちはなれ
Seeming to dance as they depart;
わかれ舞ひゆくすがたかな
The clouds that pass over the trees
樹々をわたりて行く雲の
Are seen momentarily but leave no trace,
しばしと見ればあともなき
Beckoned by a lofty destination,
高き行衛にいざなはれ
Rounding the thousand-fold rocky shadows,
千々にめぐれる巌影の
Lost among the flowers and leaning on the stones.
花にも迷ひ石に倚り
As I listen to the sound of running water,
流るゝ水の音をきけば
In the mountain’s treacherous rock fissures
山は危ふく石わかれ
Cutting through the green crags,
削りてなせる青巌に
The water breaks and plunges down to pools
砕けて落つる飛潭の
Whose waves gush through the rapids;
湧きくる波の瀬を早み
The spring sun’s showy rays
花やかにさす春の日の
Sparkle in the watery spray;
光烱てりそふ水けふり
A lone patch of moss scales a rock
独り苔むす岩を攀ぢ
On which I tread gingerly.
ふるふあゆみをふみしめて
As I wait for the drifting clouds,
浮べる雲をうかゞへば
The thundering waterfalls below
下にとゞろく飛潭の
And rock-splashing waves leave no calm pools,
澄むいとまなき岩波は
But where does the falling water flow?
落ちていづくに下るらん
Mountain Spirit
山精
Why does the purple
なにをいざよふ
Spring mist
むらさきの
In the deep woods
ふかきはやしの
Waver?
はるがすみ
There is something loving
なにかこひしき
230
In the stream
いはかげを
That flows from a spring
ながれていづる
Out of the rocky shadows.
いづみがは
Tree Spirit
木精
Do you hear
かくれてうたふ
The voice with no voice
野の山の
Of the fields and hills
こゑなきこゑを
That sings in hiding?
きくやきみ
Do you recognize
つゝむにあまる
The melody of the water
はなかげの
Enveloped
水のしらべを
In the flowers’ shadows?
しるやきみ
Mountain Spirit
山精
Ah, how it flows,
あゝながれつゝ
How it yearns,
こがれつゝ
How it transforms,
うつりゆきつゝ
How it moves!
うごきつゝ
Ah, how it circles,
あゝめぐりつゝ
How it returns,
かへりつゝ
How it chuckles,
うちわらひつゝ
How it sobs!
むせびつゝ
Tree Spirit
木精
Now the sun’s rays
いまひのひかり
And the spring mists,
はるがすみ
Now the clouds during blossom time
いまはなぐもり
And the spring rains.
はるのあめ
Ah, ah, spellbound
あゝあゝはなの
231
By the flowers’ dew—
つゆに酔ひ
Sing of this
ふかきはやしに
In the deep woods.
うたへかし
I gaze at the clouds and count on my fingers
ゆびをりくればいつたびも
How many times they have changed colors;
かはれる雲をながむるに
White becomes yellow, and now I am unsure
白きは黄なりなにをかも
In what color I would dip my brush;
もつ筆にせむ色彩の
Before long everything wears a pale brown tint,
いつしか淡く茶を帯びて
And now the clouds have turned to crimson;
雲くれなゐとかはりけり
Ah, here I am alone at sunset,
あゝゆふまぐれわれひとり
The woods I track open up to me,
たどる林もひらけきて
And in the sheer silence on the banks
いと静かなる湖の
Of the lake azaleas bloom;
岸辺にさける花躑躅
As the drifting clouds pass I see their shadows,
うき雲ゆけばかげ見えて
While the spring sun sinks into the water
水に沈める春の日や
And dyes it a shade of crimson;
それ紅の色染めて
The clouds now are bathed in violet,
雲紫となりぬれば
And the waterfowl’s shadows are red;
かげさへあかき水鳥の
The lake in spring, the grass on the banks,
春のみづうみ岸の草
The deep woods, and the azalea blossoms,
深き林や花つゝじ
Even the solitary body of this lost man,
迷ふひとりのわがみだに
In deep purples and crimsons
深紫の紅の
All are cast by the sunset.
彩にうつろふ夕まぐれ
3. Pillow of Grass (草枕: Kusamakura)
Dark are the waves at dusk and the plover’s cry;
夕波くらく啼く千鳥
And though I am not a plover,
われは千鳥にあらねども
If I flapped the wings of my heart
心の羽をうちふりて
I might fly that lonely way.
さみしきかたに飛べるかな
232
The entirety of this young heart, forlorn,
若き心の一筋に
Given to inconsolable lament,
なぐさめもなくなげきわび
Frozen into ice inside my breast,
胸の氷のむすぼれて
Has melted and turned to tears.
とけて涙となりにけり
As the white waves that wash over the reeds
蘆葉を洗ふ白波の
Stream and jet from among the rocks,
流れて巌を出づるごと
My thoughts spill over this pillow of grass;
思ひあまりて草枕
How many pillows have there now been?
まくらのかずの今いくつ
How sorrowful is the plight of a man,
かなしいかなや人の身の
Desperately seeking abiding comfort,
なきなぐさめを尋ね侘び
Cutting through the pathless woods,
道なき森に分け入りて
Seeking a path that is not there.
などなき道をもとむらん
How full of worry am I, too;
われもそれかやうれひかや
In the backwoods, hills, or valley shadows,
野末に山に谷蔭に
At dawn or dusk, no good in looking,
見るよしもなき朝夕の
For the light is gone and autumn over.
光もなくて秋暮れぬ
Weak of mind, somber of body,
想も薄く身も暗く
Looking at the last remaining flowers of autumn,
残れる秋の花を見て
Ignorant of their fate, I shed tears
行くへもしらず流れ行く
Into the water that carries them off.
水に涙の落つるかな
If my body were the morning clouds,
身を朝雲にたとふれば
By evening it would turn to clouds of rain;
ゆふべの雲の雨となり
And if my body were the evening rain,
身を夕雨にたとふれば
By morning it would turn to rainy winds.
あしたの雨の風となる
And if my body were a fallen leaf,
されば落葉と身をなして
Blown by the wind and fluttering,
風に吹かれて飄り
233
Attended by morning’s golden clouds,
朝の黄雲にともなはれ
At evening it would cross the Shirakawa Pass.
夜白河を越えてけり
With no path now for me to follow,
道なき今の身なればか
Longing for the pathless fields,
われは道なき野を慕ひ
Distracted by cares, I have come wandering
思ひ乱れてみちのくの
To the Miyagi Plains of the north country.
宮城野にまで迷ひきぬ
Miyagi Plains, my heart’s shelter!
心の宿の宮城野よ
When I am rattled and feverish,
乱れて熱き吾身には
The sun’s weak rays, the withered grasses,
日影も薄く草枯れて
Even the wild fields have brought me joy.
荒れたる野こそうれしけれ
Alone my melancholy ears
ひとりさみしき吾耳は
Hear a lute when the north wind blows;
吹く北風を琴と聴き
In depths of sadness my eyes
悲み深き吾目には
See flowers in the colorless rocks.
色彩なき石も花と見き
Ah, this pang of loneliness
あゝ孤独の悲痛を
Felt only by a man of profound taste;
味ひ知れる人ならで
To whom might I relate the scene
誰にかたらん冬の日の
Of the bleak field this winter’s day?
かくもわびしき野のけしき
The view of the city from here
都のかたをながむれば
Is a sky covered in winter clouds;
空冬雲に覆はれて
The hailstones that fall on me
身にふりかゝる玉霰
Have bound my sleeves with ice.
袖の氷と閉ぢあへり
The wind mixed with sleet is fierce,
みぞれまじりの風勁く
A thin layer of ice lies on the stream;
小川の水の薄氷
Is what I hear below the ice
氷のしたに音するは
The sound of water flowing to the sea?
流れて海に行く水か
234
Magpies hidden in the clouds,
啼いて羽風もたのもしく
Cawing and devotedly stirring the winds,
雲に隠るゝかさゝぎよ
In the weak light of the frozen sky
光もうすき寒空の
You have blanketed the wild field.
汝も荒れたる野にむせぶ
As the sun sets and the light dies
涙も凍る冬の日の
On this winter’s day that freezes tears,
光もなくて暮れ行けば
Deserted of people, on grasses withered,
人めも草も枯れはてて
Here I wander alone.
ひとりさまよふ吾身かな
How sad is the drunken man going along,
かなしや酔ふて行く人の
His footsteps crushing the columns of frost;
踏めばくづるゝ霜柱
What does he cry for? Through those stifled sobs
なにを酔ひ泣く忍び音に
His song has a poignant timbre.
声もあはれのその歌は
How sorrowful the tune you play
うれしや物の音を弾きて
Along the field’s edge, my child;
野末をかよふ人の子よ
The hand that plays the melody freezes—
声調ひく手も凍りはて
What good is it to be a corner busker?
なに門づけの身の果ぞ
How lovely when you are so young in years,
やさしや年もうら若く
Untroubled by the first stirrings of love;
まだ初恋のまじりなく
Take my hand in yours, traveller,
手に手をとりて行く人よ
What are you hiding there?
なにを隠るゝその姿
Unable to bear the loneliness of the journey,
野のさみしさに堪へかねて
Treading a path where no path is there,
霜と霜との枯草の
On the frost on the withered grasses;
道なき道をふみわけて
When I arrive, how cold the winter seas.
きたれば寒し冬の海
In the morning on a rock by the shore,
朝は海辺の石の上に
I sit down and gaze in the direction
こしうちかけてふるさとの
Of the city that was my home,
都のかたを望めども
235
But all I can make out are the waves.
おとなふものは濤ばかり
At sunset on the lonely rocky shore,
暮はさみしき荒磯の
I lie in sand stained by the tide
潮を染めし砂に伏し
And gaze towards where the sun goes down,
日の入るかたをながむれど
But all that springs to view are my tears.
湧きくるものは涙のみ
Is it not dreary when the rough waves
さみしいかなや荒波の
Crash and splinter against the rocks?
岩に砕けて散れるとき
Is it not dreary when the winter sun
かなしいかなや冬の日の
Returns home with the tide?
潮とともに帰るとき
Who, when gazing out upon the currents,
誰か波路を望み見て
Does not long for home?
そのふるさとを慕はざる
Who, when seeing the tide go out,
誰か潮の行くを見て
Does not hold dear our world?
この人の世を惜まざる
With no almanac, on the sandy strip
暦もあらぬ荒磯の
Of the rough coastline I wander alone;
砂路にひとりさまよへば
Sleet blends with the rain clouds
みぞれまじりの雨雲の
And falls to join the tide.
落ちて潮となりにけり
To my lonely ears, accustomed
遠く湧きくる海の音
To the faraway sound of the surging sea,
慣れてさみしき吾耳に
An indistinct call issues
怪しやもるゝものの音は
From a bird of the field, still so young.
まだうらわかき野路の鳥
Oh, how rare that melody!
嗚呼めづらしのしらべぞと
To what does it address its song?
声のゆくへをたづぬれば
Its green wings are still weak—
緑の羽もまだ弱き
Is it the first bush warbler of spring?
それも初音か鶯の
Spring has come! Spring! It is spring!
春きにけらし春よ春
236
Though the white snow still piles high,
まだ白雪の積れども
The seedlings sprout into green,
若菜の萌えて色青き
And my mood skims over the sand.
こゝちこそすれ砂の上に
Spring has come! Spring! It is spring
春きにけらし春よ春
Happily delivered on the winds;
うれしや風に送られて
It seems that spring has really come—
きたるらしとや思へばか
The scent of plums perfumes the shore.
梅が香ぞする海の辺に
I climb a giant rock on the shore
磯辺に高き大巌の
And from up high I look around;
うへにのぼりてながむれば
In the dawn clouds spring has arrived,
春やきぬらん東雲の
And far away the sound of the tide at daybreak.
潮の音遠き朝ぼらけ
4. Springtime of Easy Sleep (眠れる春よ: Nemureru haru yo)
Springtime of easy sleep, how young you are!
ねむれる春ようらわかき
There is no need to hide your figure:
かたちをかくすことなかれ
Today’s sun has just hidden itself away;
たれこめてのみけふの日を
The homes where all the people live,
なべてのひとのすぐすまに
Even the waking Spring’s figure,
さめての春のすがたこそ
Look like something out of a dream.
また夢のまの風情なれ
Sleepy Spring, wake up, Spring!
ねむげの春よさめよ春
When clever people are not looking
さかしきひとのみざるまに
Young Murasaki’s morning mists,
若紫の朝霞
Wear sleeves of mists,
かすみの袖をみにまとへ
Sing the birdsong of the seasons’ first
はつねうれしきうぐひすの
Notes of the joyful warbler.
鳥のしらべをうたへかし
Sleepy Spring, wake up, Spring!
ねむげの春よさめよ春
Hardened by Winter’s ice,
ふゆのこほりにむすぼれし
237
Awaking from dreams of old,
ふるきゆめぢをさめいでて
The tangled hair of willow strands—
やなぎのいとのみだれがみ
Take up the plum blossom comb
うめのはなぐしさしそへて
And pin up your tangled sidelocks.
びんのみだれをかきあげよ
Sleepy Spring, wake up, Spring!
ねむげの春よさめよ春
A Spring, raise aloft
あゆめばたにの早わらびの
Your feet quickly from the sprouting
したもえいそぐ汝があしを
Under the bracken’s buds in the valley;
かたくもあげよあゆめ春
Breathe your wondrous Spring breath
たえなるはるのいきを吹き
And smell of deep-dyed plum.
こぞめの梅の香ににほへ
5. Parting (別離: Betsuri)
A song to be sung by a man in love
人妻をしたへる男の山に登り其
with another man’s wife, on climbing a hill
女の家を望み見てうたへるうた
to look out upon her house
Can anyone stop the traveler
誰かとゞめん旅人の
From disappearing among tomorrow’s clouds?
あすは雲間に隠るゝを
Can anyone hear the traveler
誰か聞くらん旅人の
Declare that tomorrow he must part?
あすは別れと告げましを
Pure love is one half of a clam’s shell,
清き恋とや片し貝
For only I feel this way.
われのみものを思ふより
As my love wells up and clouds over,
恋はあふれて濁 るとも
I shed tears for you.
君に涙をかけましを
If in your heart you understand
人妻恋ふる悲しさを
The sorrow of loving another man’s wife,
君がなさけに知りもせば
I shall be happy even if you
せめてはわれを罪人と
Call me a sinner.
呼びたまふこそうれしけれ
238
This suffering self that has no judgment
あやめもしらぬ憂しや身は
Thinks of dying of love
くるしきこひの牢獄より
To escape the convict’s whippings
罪の
In the prison of painful love.
こひて死なんと思ふなり
Someone does not seek that flower,
誰かは花をたづねざる
Someone is not lost in that color,
誰かは色彩に迷はざる
Someone looks ahead of himself
誰かは前にさける見て
And does not think of plucking the flower.
花を摘まんと思はざる
The jealous butterfly is bitter,
恋の花にも戯るゝ
Playing among the flowers of love,
嫉妬の蝶の身ぞつらき
Its two wings fold in and out,
二つの羽もをれをれて
The color of its wings is faint.
翼の色はあせにけり
Though the life of a man
人の命を春の夜の
Is as happy as a spring night’s dream,
夢といふこそうれしけれ
What is in my thoughts
夢よりもいやいや深き
Is much deeper still than a dream.
われに思ひのあるものを
When the plum blooms,
梅の花さくころほひは
The lotus worries about its blooming,
蓮さかばやと思ひわび
And when the lotus blooms,
蓮の花さくころほひは
The bush clover thinks of blooming in turn.
萩さかばやと思ふかな
In no time at all autumn has come,
待つまも早く秋は来て
And though the bush clover blooms where I tread,
わが踏む道に萩さけど
The muddying love I have
濁りて待てる吾恋は
Has turned into pure malice.
清き怨となりにけり
239
責をのがれいで
6. Under an Umbrella (傘のうち: Kasa no uchi)
As two people bearing one
二人してさす一張の
Umbrella fold their shapes together,
傘に姿をつゝむとも
The steady rains of despairing love
情の雨のふりしきり
Soon dry out upon their sleeves.
かわく間もなきたもとかな
How poignant as they walk along
顔と顔とをうちよせて
With faces pressed so close together;
あゆむとすればなつかしや
Under the umbrella, her strewn black hair
梅花の油黒髪の
Spreads the scent of plum blossom oil.
乱れて匂ふ傘のうち
Their love-filled reverie is wet,
恋の一雨ぬれまさり
Drenched by rainfall in the heart;
ぬれてこひしき夢の間や
Their kimono linings are dyed a burning crimson,
染めてぞ燃ゆる紅絹うらの
And their feet are hampered by the rain.
雨になやめる足まとひ
Listen, Umegawa, 1 to my song,
歌ふをきけば梅川よ
And lay aside your passion awhile:
しばし情を捨てよかし
To frolic all about in love—
いづこも恋に戯れて
Such is Chūbei’s tale of dreams.
それ忠兵衛の夢がたり
Should showers of love fall, fall;
こひしき雨よふらばふれ
In the glow of an autumn sunset,
秋の入日の照りそひて
Before the umbrella’s tears dry out
傘の涙を乾さぬ間に
They set off hand in hand and shan’t return.
手に手をとりて行きて帰らじ
1
Umegawa: a geisha whose freedom is bought by her lover Chūbei, in Chikamatsu
Monzaemon’s 1711 jōruri “Meido no hikyaku” (Express messenger from the dead; also
known as “Umegawa Chūbei”).
240
7. Two Voices (二つの声: Futatsu no koe)
Morning
朝
Someone may be listening to the voice of morning,
たれか聞くらん朝の声
Breaking out of slumber and of dreams
眠と夢を破りいで
Riding within the painted clouds
彩なす雲にうちのりて
Sung by myriads of birds
よろづの鳥に歌はれつ
Appearing on the far side of heaven,
天のかなたにあらはれて
In the eastern sky there is light,
東の空に光あり
There is time and there are beginnings,
そこに時あり始あり
There is a path and there is strength,
そこに道あり力あり
There are colors and there are words,
そこに色あり詞あり
There are voices and there are lives,
そこに声あり命あり
There are names, so it is sung,
そこに名ありとうたひつゝ
Rising into the sky, falling on the earth,
みそらにあがり地にかけり
In tandem with the remaining stars
のこんの星ともろともに
Within the light morning hides.
光のうちに朝ぞ隠るゝ
Evening
暮
Someone may be listening to the voice of evening,
たれか聞くらん暮の声
The wings of mist, the belt of clouds,
霞の翼雲の帯
The robes of smoke, the sleeves of dew,
煙の衣露の袖
Weary and worried, hurling strife
つかれてなやむあらそひを
To the far side of the dark,
闇のかなたに投げ入れて
Bats, messengers of night,
夜の使の蝙蝠の
Cease not their cries even in mid-flight,
飛ぶ間も声のをやみなく
Here are shadows and here is hesitation,
こゝに影あり迷あり
Here are dreams and here is sleep,
こゝに夢あり眠あり
Here is darkness and here is rest,
こゝに闇あり休息あり
Here is long and here is far,
こゝに永きあり遠きあり
Here is death, so it is sung,
こゝに死ありとうたひつゝ
241
Resting in the greenery, stepping in the fields,
草木にいこひ野にあゆみ
Together with the sun that falls on the other side,
かなたに落つる日とともに
In colorless darkness evening hides.
色なき闇に暮ぞ隠るゝ
8. Nostalgia (望郷: Bōkyō)
A song sung by a monk
寺をのがれいでたる僧の
upon fleeing from a temple
うたひしそのうた
Goodbye, then,
いざさらば
This is farewell to that world—
これをこの世のわかれぞと
Will these eyes ever again see
のがれいでては住みなれし
The white walls of the living quarters of that temple
御寺の蔵裏の白壁の
I grew so accustomed to, now that I am fleeing?
眼にもふたたび見ゆるかな
Goodbye, then,
いざさらば
When one lives there even the Buddha’s dwelling
住めば仏のやどりさへ
Becomes a house of flames;
火炎の宅となるものを
Tears stream down and fall
なぐさめもなき心より
From a heart that finds no comfort.
流れて落つる涙かな
Goodbye, then,
いざさらば
Though the lamp oil of the heart is fouled,
心の油濁るとも
Let us stir up the flame
ともしびたかくかきおこし
And in the blazing flames of passion
なさけは熱くもゆる火の
Burn ourselves to ashes of longing.
こひしき塵にわれは焼けなむ
242
9. Fierce Rivals (強敵: Kyōteki)
To a single flower came a butterfly and a spider:
一つの花に蝶と蜘蛛
The little spider made a caring face to the flower;
小蜘蛛は花を守り顔
The little butterfly made a tipsy face for the flower,
小蝶は花に酔ひ顔に
Helpless though it danced and danced.
舞へども 舞へども すべぞなき
If the flower be for the little spider,
花は小蜘蛛のためならば
What to make of the little butterfly’s dance?
小蝶の舞をいかにせむ
If the flower be for the little butterfly,
花は小蝶のためならば
What to make of the little spider’s threads?
小蜘蛛の糸をいかにせむ
Presently the single flower fell,
やがて一つの花散りて
And though the little spider slumbered there,
小蜘蛛はそこに眠れども
The little butterfly on its light wings
羽翼も軽き小蝶こそ
Departed, destination unknown.
いづこともなくうせにけれ
10. Autumn (秋: Aki)
Autumn has come,
秋は来ぬ
autumn has come,
秋は来ぬ
Dewdrops on the leaf and the flower—
一葉は花は露ありて
In the sound of the coming breeze played on the lyre 風の来て弾く琴の音に
The green grapes have turned
青き葡萄は紫の
Into the purple wine of nature.
自然の酒とかはりけり
Autumn has come,
秋は来ぬ
autumn has come,
秋は来ぬ
The lately gone autumn grass, too—
おくれさきだつ秋草も
All where the evening frost settles
みな夕霜のおきどころ
The wine of laughter is to be poured
笑ひの酒を悲みの
Into the cups of sadness.
盃にこそつぐべけれ
243
Autumn has come,
秋は来ぬ
autumn has come,
秋は来ぬ
To the shrubs and the maples—
くさきも紅葉するものを
Who is not drunk on autumn?
たれかは秋に酔はざらめ
In the loneliness of a wise face
智恵あり顔のさみしさに
You play the flute and I shall sing!
君笛を吹けわれはうたはむ
244
B. From Doi Bansui’s Nature Has Feelings (天地有情: Tenchi ujō, 1899)
1. Moon on the Castle Ruins (荒城の月: Kōjō no tsuki)
Where now is the light of long ago
春高樓の花の宴
That broke through branches of the ancient pines,
めぐる盃影さして
Twinkling on the wine cups going round
千代の松が枝わけ出でし
Spring’s blossom-viewing banquet at the palace?
むかしの光いまいづこ。
Where now is the light of long ago
秋陣營の霜の色
That glinted on the swords stuck in the ground,
鳴き行く雁の數見せて
Showing the many squawking geese flying over,
植うるつるぎに照りそひし
The color of frost at the fall encampment?
むかしの光今いづこ。
For whom now shines the unchanging light
いま荒城のよはの月
Of the midnight moon on the castle ruins?
變らぬ光たがためぞ
All that remains in the hedge is the vine,
垣に殘るはただかづら
All that sings in the pines is the wind.
松に歌ふはただあらし。
Though heaven’s image does not change,
天上影は變らねど
Does not the figure of the passing ages
榮枯は移る世の姿
Of glory and decay reflect even now?
寫さんとてか今もなほ
Ah, the midnight moon on the castle ruins!
あゝ荒城の夜半の月。
245
2. Poet (詩人: Shijin)
O poet, should I describe you
詩人よ君を譬ふれば
As a maiden drunk on love?
戀に醉ひぬるをとめごか
For you hear music in the storm,
あらしのうちに樂を聞き
And you see flowers in wild fields.
あら野のうちに花を見る。
O poet, should I describe you
詩人よ君を譬ふれば
As a child blind to the world’s sins?
世の罪しらぬをさなごか
For a divine voice sounds from your lips,
口には神の聲ひゞき
And a dream of heaven is in your eyes.
目にはみそらの夢やどる。
O poet, should I describe you
詩人よ君を譬ふれば
As the waves of the open sea?
八重の汐路の海原か
On the surface a raging storm,
おもてにあるゝあらしあり
And hidden in the depths a pearl.
底にひそめるまたまあり。
O poet, should I describe you
詩人よ君を譬ふれば
As a volcano rising into the clouds?
雲に聳ゆる火の山か
Stars sparkle from your brow,
星は額にかゞやきて
Waves of fire gush in your breast.
焔の波ぞ胸に湧く。
O poet, should I describe you
詩人よ君を譬ふれば
As the cool light of the evening moon?
光すゞしき夕月か
Your body is held in the heavens,
身を天上にとめ置きて
And your reflection in the dust of the world below.
影を下界の塵に寄す。
246
3. The Universe and the Poet (萬有と詩人: Ban’yū to shijin)
And he has traveled in mind and spirit
through the immeasurable all.
—Lucretius2
Atque omne immensum
peragravit mente animoque.
O poet, have you sung,
「渾沌」よさし窮りて
And played the zither in the light
時「永劫」のふところを
Of the morning star that sparkles in your hairpins,
出でしわが世のあさぼらけ
Of the dawn of our world,
かざしににほふ明星の
When at the brink of Chaos
光に琴を震はして
Time came forth from the bosom of Eternity?
詩人よ君は歌ひしか。
The streaming light and sinking shadows
流るゝ光りしづむ影
Have passed through seasons of countless ages;
過ぎし幾世の春秋ぞ
Boulders have moved, mountains have departed,
巖は移り山は去り
Pools have transformed countless times—
淵も幾たび替りけむ
Now, as of old, the splendid creation
おほあめつちの美はしき
Of the great heavens and earth.
たくみは今もむかしにて。
Lo, the whitecaps frothing up
あゝわだつみの波の花
Are to me like flying silver snakes;
銀蛇の飛ぶに似たるかな
I raise my eyes to see a rainbow aloft in the sky—
仰げば空に虹高し
My heart is not stirred by rainbows,
虹にも醉はぬわがこゝろ
My heart is dull to the waves—
波にもにぶきわがこゝろ
It begs of you one thing: your song.
たのむは獨り君が歌。
A baptism of living fire burns
生ける焔のバプテズマ
And sweeps away this worldly dust,
浮世の塵を燒き掃ひ
Summoning the wind to stir the clouds,
雲を震はせ風に呼び
Attending light and darkness,
光に暗に伴ひて
And racing hither from the far skies—
大空遠く翔けりくる
2
From On the Nature of Things (De rerum natura), Book I, line 74.
247
Do you hear the muse’s song?
詩神の歌を君聞くや。
Morning sunlight and evening glow
あさ日の光りゆふ光り
With such skill in different colors
かれとこれとの染め替ふる
Dye the pale and flowery robes
たくみもよしや天雲の
Of the clouds—and pulling at
輕羅のころも花ごろも
The crimson of their trailing hems,
曳くやもすその紅に
Do you see the muse’s image?
詩神の影を君見るや。
“Clear spring, or shady grove,
「泉のほとり森のかげ
Or sunny hill,” 3 could that be all?
光てりそふ岡」のみか
Do not verses somewhere sing
あしたの風の吹くところ
Of how the morning breezes blow,
ゆふべの雲のゐるところ
Of how the clouds at evening gather,
露のしづくのふるところ
Of how the beads of dew descend?
いづくか歌のなからめや。
Do not verses somewhere sing
流るゝ水のゆくところ
Of the rivers flowing by,
きらめく星のてるところ
Of the bright stars twinkling,
緑の草の生ふところ
Of the green grass growing,
鷲の翼を振るところ
Of an eagle’s wings flapping,
獅子のあらしに呼ぶところ
Of a lion roaring in a storm?
いづくか歌のなからめや。
In spring—the faint dawn light in Yoshino,
春は吉野のあさぼらけ
The crimson of the pressing mist,
こむる霞のくれなゐも
The ridge of bursting flowers far off;
遠目は紛ふ花の峯
In summer—twilight on the Rhine,
夏はラインの夕まぐれ
The water flowing far and pure
流は遠く水清く
Reflects the deep green of the banks.
映るも岸の深みどり
3
Bansui’s endnote: Paradise Lost, Book Three.
248
The rippling pools of the Miluo River 4
汨羅の淵のさゞれなみ
And the clouds on Wu Shan 5 disappear,
巫山の雲は消えぬれど
And then again the scattering voice of autumn;
猶搖落の秋の聲
Is the crimson casting light on boulders
潮も氷る北洋の
Glazed with ice from the north sea waves
巖を照らすくれなゐは
The unsinking light of the midnight sun?
光しづまぬ夜半の日か。
Do you see a vision here
路に斃れしカラバンの
Of the end of time when all is snuffed out,
枯骨碎けて塵となり
And the rotting bones of the broken down
魂啾々の恨さへ
Caravan crumble into dust in the road,
あらしにまじる大砂漠
And even the grief of the wailing soul
もの皆滅ぶ空劫の
Swirls into the storm of the great desert?
面影君はこゝに見む。
Do you see a vision here
黒雲高くおほ空の
Of the chaos of indistinct heaven and earth,
照る日の影を呑みけして
Of black clouds rising in the sky
紅蓮の焔すさまじく
To swallow up the shining sun,
巖も熔くる火のみ山
Of fierce flames of Red Lotus Hell,
あめつちわかぬ渾沌の
A great volcano melting boulders?
おもかげ君はこゝに見む。
Weary from chasing illusions,
まぼろし追うてくたびれて
Temporary lodgings at the field’s edge,
しばし野末の假のやど
What kind of dreams do you weave?
結ぶや君よ何の夢
On waking to see reddened palms,
さむれば赤したなごゝろ
Are those kind roses next to you
あたりの風を匂はして
4
Miluo River (汨羅, J: Bekira): A river in northeast Hunan Province. It is the river in
which the statesman and poet Qu Yuan (屈原, J: Kutsugen, circa 343–277 BCE)
drowned himself.
5
Wu Shan (巫山, J: Fuzan): A famous mountain between Sichuan and Hebei provinces.
Its clouds and rain were thought to exemplify the passions of men and women. It is not
far from the Miluo River.
249
That smile and perfume the breeze?
笑むはやさしの花ばらか。
In paths through meadows you’ve heard flowers
涙にあまる思とは
Singing thoughts that brim with tears;
歌ふをきゝぬ野路の花、
In empty shells on rocky shores
荒磯蔭のうつせ貝
So many people without voices;
聲なきものを何人か
You’ve heard the ocean’s melody
海のしらべをこゝろねを
Somewhere deep inside your heart.
其一片に聞きにけむ。
A flower perfumes the mountain ridge,
たかねの崖に花にほひ
A song springs from the passion-wave pools;
情波の淵に歌は湧く、
You who change formless into voice,
無象を聲に替ふるてふ
Listening with ears in the heart—
君が心耳のきくところ
What does the thunder foretell, what does
空のいかづち何をつげ
The biting midnight wind reveal?
夜半のこがらし何を説く。
What does the biting midnight wind
夜半のこがらし何を説く、
Reveal—as Sleep, or Death, or as
「眠」の如く「死」の如く
The slackening wings of the gentle dove
やさしき鳩の羽たゆく
Descending in the sky at dusk,
ゆふべの空に下るごとく
When the spirit of the muse
詩神の魂の降り來て
Alights and fills your heart?
君が心をみたすとき。
Nocturnal fragrance rises up,
夜の薫りの高うして
Heaven and earth dream silently;
天地しづかに夢に入る
Gazing at the breeze’s figure
うちに聲なく言葉なく
In the flickering window-flames
またゝく窓のともしびに
Of dwellings with no sounds or words—
風の姿を眺めては
These thoughts somehow are your own.
思はいかに君が身の。
Whither go the stars that flow
心の窓も押しあけて
Into the sky you gaze out on,
眺むる空に流れくる
Opening the very window of your heart—
星の行衞はいづくぞや
250
To the banks of the clear Avon, 6
清きアボンの岸のへか
To the blooming Tuscan fields, 7
咲くタスカンの花の野か
To the wooded shade of Weimar?8
それワイマアの森蔭か。
The North Star is far, its light is high—
北斗は遠し影高し
Its rays of hope and color of love
望の光り愛の色
Stand out up there; and in Orion,9
かれにもしるき參宿の
Shining up there across his belt
もなかにひかりかゞやきて
(Symbols of truth, good, and beauty)
（かたどる影は眞善美）
—The three stars are aligned just so.
三の星こそ並ぶなれ。
If we could peer straight through the earth,
坤輿一球透き通り
As though looking up instead,
仰ぎて上に見るがごと
And gaze at the ten million
下にも光る千萬の
Constellations that shine below,
星の宿りを眺め得ば
We’d know “the world down here” means naught
下界の名さへ空しくて
And that our world is glorious.
我世いみじと知るべきを。
The light of truth and beauty of truth
まことの光りまことの美
Are shrouded behind a thin mist;
狹霧に
Hovering in the dark, my heart
暗にさまよふわがこゝろ
Begs of you one thing: your song—
たのむは獨り君が歌
Let your song bloom for the sake
紫蘭の薫り百合花の色
Of orchid’s scent and lily’s hue.
爲めに咲かなん君が歌。
Strumming your bejeweled harp,
しらべも高くねも高く
Softening the raging storm,
あらきあらしを和げて
6
Bansui’s note: Shakespeare.
7
Bansui’s note: Dante.
8
Bansui’s note: Goethe.
9
Bansui’s note: The constellation Orion.
251
はれとざされて
To tender music you convert
微妙の樂に替ふるてふ
Its loud and high-pitched din;
君が玉琴かきならし
Smiling in the midst of tears,
涙のうちにほゝゑみて
Shining even in the dark—
暗のうちにもかゞやきて。
As Orpheus did, unbind your soul
かのオルヒスのなすところ
From its tie to the underworld;
陰府に繋がる魂を解き
As Pythagoras professed,
かのピタゴルの説くところ
Listen to the celestial music;
御空に星の樂を聞き
As Plato beheld, be overwhelmed
かのプラトンの見るところ
By a dream of high ideals!
高き理想の夢に醉へ。
4. Evening Thoughts (夕の思ひ: Yūbe no omoi)
Whither goes the spirit in man? Whither
Où va l’esprit dans l’homme? Où
goes man on the earth?
va l’homme sur terre?
Lord! Lord! whither goes the earth in the sky? Seigneur! Seigneur! où va la terre
dans le ciel?
10
—Hugo: Autumn Leaves.
O life as futile, then, as frail!
O for thy voice to soothe and bless!
What hope of answer, or redress?
Behind the veil! behind the veil!
—Tennyson: In Memoriam. 11
I
（一）
Advancing ahead of the pensive sinking sun
思入日を先きだてゝ
In the sky approaching twilight
たそがれ近き大空に
A floating cloud cluster hesitates
うかびいざよふ雲のむれ
10
From Victor Hugo’s “To My Friends L. B. and S.-B.” (A mes amis L. B. et S.-B.), in
Autumn Leaves (Les Feuilles d’automne, 1831).
11
From Alfred Tennyson’s In Memoriam A. H. H. (1849).
252
As a remnant of the dying day—
暮行くけふの名殘とて
By what scheme are dazzling colors
見るめまばゆきあやいろを
Dyed before my very eyes?
染むるは何のわざならむ。
At the limits of the many-layered sky,
あるは幾重の空のよそ
Above the many-tiered peaks,
あるは幾重の嶺のうへ
The lightly flowing crimson shows
かろく流るゝくれなゐは
The flags of Seraph and Cherub,
セラフ、ケラブの旗を見せ
And the loosely trailing purple pulls
ゆるく靉びくむらさきは
The skirts of heavenly nymphs.
あまつをとめの裾や曳く。
Above the skies of evening upon evening
夕夕の空の上
The myriad transforming vestiges—
替るもゝちの面影を
I looked there for unwavering love
替らぬ愛に眺むれば
And only found the hint of connection.
たゞ聯想の端となる
Clouds, spreading your unencumbered wings,
雲よ自在のはねのして
To what far end do you gallop?
いづくのはてに翔けり行く。
Lo, the evening clouds gallop
あゝ夕雲のかけりゆく
To the land beyond the sky—
空のあなたぞなつかしき
There may be a river of life
心の渇きとゞむべき
That stops the heart’s thirst,
そこに生命の川あらむ
There may be a secret key
眞理のかどを開くべき
That opens the door to truth.
そこに秘密の
Behold, above the plumes of evening’s clouds,
嗚呼夕雲のはねのうへ
Someone casts away this vale of tears,
たれか「涙の谷」棄てゝ
Perhaps to fly away beyond the sky
荒鷲翔けり風迷ふ
Of brave racing eagles and swerving winds,
空のあなたに飛行かむ
To where the rays of light may shine, somewhere
浮世の暗にしられざる
Unknown to darkness of the floating world.
光はそこにてるべきに。
As bees gathering nectar up
花より花にむれとびて
253
あらむ。
Dart from flower to flower,
蜜を集むる蜂のごと
I watched the soul flying
星より星に光をと
From star to star for light—
飛行く魂を眺めけむ
As someone bringing back home
詩人のくしきまぼろしを
The poet’s12 ethereal vision.
II
（二）
The vision of the Garden of Eden
消えしエデンの花園の
Though vanished is not forgotten now.
おもわは今も忘られず
Thinking to sot myself on the dregs
ほす味にがきさかづきの
At the base of the bitter cup of wine—
底なる澱に醉はんとて
How long in the floating world of dust
塵の浮世に塵の身は
Could a body of dust abide?
かくもいつまで殘るらむ。
Wandering in a vale of tears,
涙の谷にさまよひて
Taken by surprise in dreamless sleep,
ねぬ夜の夢に驚けば
Here weeps Byron over blood,
こゝにバイロン血に泣きて
Whence comes the “child of Doubt and Death,” 13
「死と疑の子」となのり
And here does Schiller raise his voice
こゝにシルレル聲あげて
To cry, “Ideals are vanished.” 14
「理想は消ゆ」と叫ぶなり。
Though in the quiet flowing Avon 15
アボンの流しづかにて
Coolly swells the moon aloft,
すゞしく月を宿せども
The waters at the invisible bottom sob,
見えぬそこひに波むせび
12
Bansui’s note: See Paradiso from Dante’s Divine Comedy.
13
From Byron’s Childe Harold’s Pilgrimage, Canto II, verse 3 (1812-18).
14
From Schiller’s “Die Ideale” (The ideals, 1795).
15
Bansui’s note: The river of Shakespeare’s birthplace.
254
And on the surface of Grasmere, 16 too,
グラスメヤアの水面にも
Seeing this world’s images reflected,
うつる此世の影見れば
Only longing for the sea gods17 there.
たゞ海神のなつかしや。
Thus full of contemplation do the people
さればラインの岸遠く
Depart the banks of the far-off Rhine;18
思をこめて人は去り
And a summer’s eve in Geneva
ゼネワの夏の夕暮は
Accompanies other songs of woe;19
よその恨の歌を添へ
And even the waves of Naples
深き嘆はネープルの
Cannot wash out 20 the deep wails.
波も洗ひや得ざりけむ。
The moon in the sky illumines the waves,
波に照れとて空の月
The butterflies in spring dance in the flowers,
花に舞へとて春の蝶
And Nature then has ingenious skill;
「自然」のわざは妙ながら
Bodies of dust tormented in the world,
世に苦めと塵の身を
Mortal frames lost in the dark,
暗に迷へと玉の緒を
How inscrutable is the creating mind.
つくる心のしりがたや。
To invoke a deity as one
かゞやく星に空かざり
Who decorates the sky with glittering stars
玉しく露に地を粧ふ
And festoons the world with beads of dew
神にたづねむいかなれば
Is to bind with flattery the human child
なまじの絆人の子の
Who wishes for wisdom of the mind
心に智慧の願あり
16
Bansui’s note: A lake near Wordsworth’s home.
17
Bansui’s note: “Namely, Proteus and Triton. See the famous poem ‘The World Is Too
Much With Us’” (the poem’s title is written in English).
18
Bansui’s note: “See Canto 3, verse 50 and thereafter, of Childe Harold.”
19
Bansui’s note: “Lamartine later wrote of meeting Byron here in a poem of heroic
mourning entitled ‘The Man’ [L’Homme].” That poem, from First Poetic Meditations
(Premières meditations poétiques, 1820), is dedicated to Byron.
20
Bansui’s note: “Shelley’s ‘Stanzas written in dejection, near Naples’” (1818, with the
poem’s title in English).
255
And hopes for understanding in the breast.
III
胸に悟の望ある。
（三）
In the human world where only ruin prevails,
荒れのみまさる人の世に
At least the flower of love smells sweet—
せめては匂ふ戀の花
Who is to blame for its fragility?
脆きはたれの咎ならむ
Starry eyes and eyebrow moons,
星の眸月の眉
Just kernels of a memory—
たゞ思出の種として
Whither do these illusions flee?
いづく消行くまぼろしぞ。
Resting against a mother’s breast,
母の乳房にもたれつゝ
Filled with innocent dreams of spring—
宿すもゆかし春の夢
The devil must have laughed to see;
見なば魔王もゑみぬべき
The infant’s sleep lasts but a spell,
稚子の眠りもひとゝきや
And soon enough the worldly storms approach,
やがて寄來ん世のあらし
The bitter storms to which the child awakes.
つらきあらしのさますらむ。
The equal of these bitter storms
つらきあらしを譬ふれば
Might even be the gates of hell—
陰府なる門のきしりかも
Within the voices down through ages,
脆き、弱きをにへとして
Sacrificing weak and fragile
いけるをきほふ世々の聲
In the struggle to survive,
うちに恨の叫あり
Are wails of grief and tears of woe.
うちに憂の涙あり。
The bones of countless folk must shatter
民のもゝちの骨枯れて
For one man’s glory, it is told;
ひとりのいさを成ると説く
Then how much more painful it is
それにもまして痛はしき
That social glory has been bought
個人の嘆と悲と
with individuals’ grief and sorrow,
涙と血とに買はれたる
Tears, and blood—and for whose sake?
社會の榮はたがためぞ。
256
The tides of time eternally—
時劫の潮とこしへに
Flowing surges, ebbing waves,
寄するあら波返る波
Cresting, dipping, in the end
浮きて沈みて末つひは
Are just traces of sea foam;
たゞうたかたのよゝのあと
Has any time, has any age
いづれの時かいつの世か
Been free from chaos and strife?
亂れ騷ぎのなかりけむ。
Rome, which gathered worldly riches,
世界の富を集めたる
Her glory vanished like a dream;
ローマの榮華夢と消え
Nineveh and Babylon’s
こがね鏤ばめ玉しきし
Bejeweled golden castles ruined;
ニネブ、バビロン野と荒れて
The Tower of Babel built on sand—
砂上につきしバベル塔
What now of it remains?
今はた何を殘すらむ。
Alas, the heights and depths of men
嗚呼人榮え人沈み
And the rise and fall of nations
國また起り國亡び
Thus revolve without an end
かくてりて極みなく
And thus flow on unlimited—
かくて流れてはてもなく
Time and floating world: whence came?
時よ浮世よいづくより
Time and floating world: bound whither?
時よ浮世よいづちゆく。
IV
（四）
Darkened solitary thoughts,
ひとり思にかきくれて
My stopping shadow and pressing cloud
たゝずむ影もゐる雲も
Vanish in the lonely dusk;
消えてむなしき夕まぐれ
Is it the gracious watch of God?—
神の慈愛のまなじりか
In the sky when green fades out
みどり澄みゆく大空に
O how the stars begin to shine!
はやてりそむる星のかげ。
O shining stars, how dear to me,
あゝなつかしの星の影
In this passing dream, this human world,
夢と過行く人の世に
257
Showing traces of Eternity;
猶「永劫」のあと見せて
As in long ago, when separated
あめとつちとの剖れけむ
Into heaven and earth, forever
むかしのまゝにとこしへに
Redolent with youthful starlight.
わかき光に匂ふかな。
Lifting my eyes to that eternity
其永劫の面影を
I am overcome by tears,
仰げば我に涙あり
Gasping after traces of Hope,
高くたふとく限りなき
Whose image rests beyond the sky,
靈のいぶきに扇がれて
Lofty, noble, without bounds,
空のあなたにかげとむる
Fanned by the breath of the soul.
「望」のあとに喘ぎつゝ。
In heaven light, in earth darkness,
天には光地には暗
And my thoughts hovering between;
あひにさまよふ我思ひ
Gathering sorrows of the floating world,
浮世の憂を吹寄せて
The tempests cry, “Despair!”
あらし叫びぬ「惱よ」と
Revealing faintly the glory of God,
神の光榮をほのみせて
The stars whisper, “Hope!”
星さゝやきぬ「望よ」と。
5. Evening Bell (暮鐘: Boshō)
The bell! Echo of the sky set close
to the earth!
Rumbling voice that speaks beside
the thunder,
One made for the city, the other for
the sea!
Vase full of murmurs that empties itself
in the air!
—Hugo: Songs of Twilight21
21
La cloche! écho du ciel placé près
de la terre!
Voix grondante qui parle à côté
du tonnerre,
Faite pour la cité comme lui pour
la mer!
Vase plein de rumeur qui se vide
dans l'air!
From Victor Hugo’s “To Louis B.” (À Louis B.), in Songs of Twilight (Les Chants du
crépuscule, 1835).
258
The bird in evening’s forest roost,
森のねぐらに夕鳥を
The traveller in the foothill village,
麓の里に旅人を
The body in the silent grave,
靜けき墓になきがらを
The spirits in the dark of dream paths—
夢路の暗にあめつちを
Ring and deliver them, evening bell!
送りて響け暮の鐘。
Spring’s hillside petal showers it beckons,
春千山の花ふゞき
And pattering rain on autumn leaves;
秋落葉の雨の音
In concert with the winds of hell
誘ふて世々の夕まぐれ
It tolls the twilight of the ages.
劫風ともに鳴りやまず。
Echo of heaven, cry of earth—
天の返響地の叫び
Sound of spite or sound of comfort?
恨の聲か慰めか
Anguish over what has passed,
過ぐるを傷む悲みか
Or joy that welcomes what may come?
來るを招く喜びか
Foreboding of impermanence,
無常をさとすいましめか
Or chanting voice proclaiming hope?
望を告ぐる法音か。
When at parting sleeves are heavy
友高樓のおばしまに
At the gate of friendship’s palace;
別れの袂重きとき
When reminiscences lie thick
露荒凉の城あとに
In bleak dew midst the castle ruins;
懷古の思しげきとき
When standing at his silent window
聖者靜けき窓の戸に
A saint thinks of the formless heavens—
無象の天を思ふとき
Raising its voice to the sky
大空高く聲あげて
Now tolls the evening bell.
今はと叫ぶ暮の鐘。
Where people dwell and where they go,
人住むところ行くところ
Where there is grief and there is death,
嘆と死とのあるところ
Where there is poetry and music;
歌と樂とのあるところ
Where sadness, tears, and suffering,
涙、悲み、憂きなやみ
Laughter, pleasure, and delight
笑、喜び、たのしみと
Pass from one on to the next.
互に移りゆくところ、
259
On city boulevards with flowers,
都大路の花のかげ
In villages beneath thick clouds,
白雲深き鄙の里
On rocky shores beset with foam;
白波寄する荒磯邊、
In the innocent ears of children,
無心の穉子の耳にしも
And on mute beds of mounded earth,
無聲の塚の床にしも
The evening bell resounds alike.
等しく響く暮の鐘。
On a hill, recalling to mind
雲飄揚の身はひとり
The lone flank of a wafting cloud
五城樓下の春遠く
That wandered over the city skies
都の空にさすらへつ
Far from the springtime in the castle town,
思しのぶが岡の上
I, too, hear the evening bell.
われも夕の鐘を聞く。
As crows gather in yonder woods
鐘の響きに夕がらす
Amid the setting sun’s soft light,
入日名殘の影薄き
At the tolling of the bell
あなたの森にゐるがごと
My thoughts rise up
むらがりたちて淀みなく
And flock together restlessly.
そゞろに起るわが思ひ。
Reverberations shake again
靜まり返る大ぞらの
The waves of the once hushed sky
波をふたゝびゆるがして
And resound from cloud to cloud,
雲より雲にどよみゆく
To die out faintly, far away
餘韻かすかに程遠く
From the ears of the floating world;
浮世の耳に絶ゆるとも
Yet know outside the formless heavens,
しるや無象の天の外
Hearing this world’s babbling dreams
下界の夢のうはごとを
In the echoes of the bell,
名殘の鐘にきゝとらん
A high and noble spirit exists.
高き、尊き靈ありと。
Do you climb to an eternal throne,
天使の群をかきわけて
Weaving through a crowd of angels?
昇りも行くか「無限」の座
O bell, what is it you cry out
鐘よ、光の門の戸に
Through the gates of light?
何とかなれの叫ぶらむ、
260
That darkness of this world is deep,
下界の暗は厚うして
And sorrows of saints never cease?
聖者の憂絶えずとか
That flowers of this world are fragile,
浮世の花は脆うして
And tears of poets never dry?
詩人の涙涸れずとか。
A long, faint, and distant sound
長く、かすけく、また遠く
Even now keeps calling out—
今はたつゞく一ひゞき
Does some voice of an earthly soul
呼ぶか閻浮の魂の聲
Cry out from the eternal depth?—
かの永劫の深みより、
“I, too, have floated on a boat
「われも浮世のあらし吹く
Tossed by tempests of this world,
波間にうきし一葉舟
And with the port of spring so distant
入江の春は遠くして
I sank halfway along the voyage.”
舟路半ばに沈みぬ」と。
Do not bemoan the world’s bleak fate.
恨みなはてぞ世の運命、
Pulling the infinite future behind me
無限の未來後にひき
And seeing the infinite past ahead,
無限の過去を前に見て
I am doubtful here and now,
我いまこゝに惑あり
I am hopeful here and now.
はたいまこゝに望あり、
Laughter, pleasure, suffering,
笑、たのしみ、うきなやみ
Light and darkness weave together;
暗と光と織りなして
And so the evening bell may toll
歌ふ浮世の一ふしも
The melody of this floating world.
いざ響かせむ暮の鐘、
Thus the thoughts of foregone souls
先だつ魂に、來ん魂に
Blend with thoughts of souls to come,
かくて思をかはしつゝ
Connecting wellspring to the sea
流一筋大川の
In one great flowing river.
泉と海とつなぐごと。
The storm at dusk blows from the east,
吹くや東の夕あらし
The waves of western clouds approach;
寄するや西の雲の波
Often gathering in this hollow
かの中空に集りて
They say nothing to each other;
しばしは共に言もなし
261
When the two part once again,
ふたつ再び別るとき
Perhaps the storm will cry out, “Secret!”
「秘密」と彼も叫ぶらむ。
How often have I laughed to think
人生、理想、はた秘密
That human lives, ideals, and secrets
詩人の夢よ、迷よと
Are the poet’s dreams and fancies!
我笑ひしも幾たびか、
As the wishing star vanishes
まひるの光りかゞやきて
In the radiant light of the sun,
望の星の消ゆるごと
The floating world is cloaked in dust—
浮世の塵にまみれては
I know not what is sin or filth.
罪か濁世かわれ知らず。
Ringing out at every nightfall
其塵深き人の世の
Through the dust-deep world of men,
夕暮ごとに聲あげて
The evening bell tolls of a world
無限永劫神の世を
Of infinite, eternal gods;
警しめ告ぐる鐘の音、
Can it summon tears of passion
源流すでに遠くして
As it gives its wordless sermon
濁波を揚ぐる末の世に
To a world awash in filth
無言の教宣りつゝも
And distant from its headwaters?
有情の涙誘へるか。
The eaves of Gion Temple rot,
園精舍の檐朽ちて
Where only liquor’s stench wafts up;
葷酒の香のみ高くとも
The tower of Saint Sophia crumbles,
セント、ソヒヤの塔荒れて
While gospels flatter vulgar folk.
福音俗に媚ぶるとも
Listen! Within the evening bell
聞けや夕の鐘のうち
The great and venerable way
靈鷲橄欖いにしへの
Of Vulture Peak and the Mount of Olives!
高き、尊き法の聲。
At twilight, rife with nature’s feelings, 22
天地有情の夕まぐれ
No trace left of the phoenix tower
わが驂鸞の夢さめて
When I wake from dreams of glory;
鳳樓いつか跡もなく
22
Nature’s feelings (天地有情 Tenchi ujō): This is the title of Bansui’s poetry collection.
262
The flower, its scent, the evening moon—
花もにほひも夕月も
How fragile is this springtime world!
うつゝは脆き春の世や
The mists atop the mountain lift,
岑上の霞たちきりて
And though the sleeves of fairies’ robes
縫へる仙女の綾ごろも
Are left embittered by the storm,
袖にあらしはつらくとも
A musical sound faintly rings
「自然」の胸をゆるがして
And stirs the bosom of Nature—
響く微妙の樂の聲
That one sound is here at hand.
その一音はこゝにあり。
Heaven’s majesty, earth’s beauty,
天の莊嚴地の美麗
Flowers fragrant, stars atwinkle—
花かんばしく星てりて
The skill of Nature changes not,
「自然」のたくみ替らねど
But troubles are constant in this world.
わづらひ世々に絶えずして
When dreams of ideals disappear,
理想の夢の消ゆるまは
Ring evermore, unceasingly,
たえずも響けとこしへに
Uniting earth’s and heaven’s sounds,
地籟天籟身に兼ぬる
Voice of the bell at sunset!
ゆふ入相の鐘の聲。
6. Cherry Tree By the Riverbank (岸邊の櫻: Kishibe no sakura)
Flowering cherry, perfuming the banks
春靜かなる里川の
Of that peaceful old stream in spring,
岸のへ匂ふ花櫻
Yearns for its reflection on the water’s surface—
水面の影にあこがれて
How often have its tears washed down.
涙灑げる幾たびか。
Not recognizing its own reflection,
おのが影とも花知らず
In the soft light of the morning sun,
光のどけき朝日子に
How often it has gazed
姿凝らして水面を
At its own shape on the water’s surface.
あゝ幾度か眺めけむ。
The reflection says nothing, the water moves on;
影ものいはじ水去りて
263
Gazing at the reflected color
いつしか老ゆる花の面
Of the flower’s face which all too soon grows old,
うつらふ色を眺めては
Thoughts somehow turn to nightfall.
思やいかに夕まぐれ。
When spring itself dying departs,
春も空しく暮去れば
See how the flower breaks away from the twig,
梢離れてあゝ花よ
Meeting its reflection on the water’s surface—
水面の影と
Whither its fate, how far its end?
行くゑはいづこ末遠く。
ひながら
7. The Moon and Love (月と戀: Tsuki to koi)
Awakened in deep night, I gazed out from
寢覺め夜深き窓の外
The window, and saw, slipping through the cracks
しばし雲間を洩れいでゝ
Of clouds, its figure biding silently,
靜かに忍ぶ影見れば
The moon—how much like love did it appear!
月は戀にも似たりけり。
Yearning for this floating world, each night
浮世慕ふて宵々に
The moon bestows its light, but to what end?
寄する光のかひやなに
Blanketed by layers of thick clouds,
叢雲厚く布き滿てば
O Moon Princess, what vanity is love!
戀はあだなり月姫よ。
Like a flower tended by the hands
あだなる戀に泣く子らの
Of a maiden weeping vainly for her love,
手に育ちけむ花のごと
Its pallid figure ever waning thin,
色青じろう影やせて
It goes away to hide beyond the clouds.
隱れも行くか雲の外。
264
8. The Eagle (鷲: Washi)
Where violets are dyed by the dew
紫にほふ横雲の
Of purple-scented cloud banks,
露や染めけむ花すみれ
Bees and butterflies frolic midst the flowers;
花に戯るゝ蜂蝶の
Where, for love or enmity,
戀か恨かうつゝ世の
Leaving the empty springtime,
はかなき春をよそにして
One eagle climbs into the sky,
大空のぼる鷲一羽
The winds chill and the way lonely.
あらしは寒し道さびし。
Exquisite though the figure of spring,
春の姿はたへなれど
Fragrant though the flower’s scent,
花の薫りはにほへれど
Lovelier than that spring
其春よりも美はしく
And sweeter smelling than that flower,
其花よりもかんばしき
Aiming beyond the clouds
雲井のをちをめざしつゝ
One eagle high in the sky,
大空高く鷲一羽
The winds severe and the way harsh.
あらしはきびし道かたし。
Bearing the infinite heavens on its back
背には無限の天を負ひ
And sundering the green clouds,
緑雲はねにつんざきて
Whither does it fly?
飛び行くはてはいづくぞや
Seeking the lofty scent
望のあした持ち來る
That brings the tomorrow of desires
高き薫りのあとゝめて
One eagle traverses the sky,
大空めぐる鷲一羽
The winds bitter and the way frightful.
あらしはつらし道すごし。
Ah, how high the peaks of the Caucasus
嗚呼コーカサス峯高く
And the gathering cloud banks—
千重の叢雲むらだちて
This world’s sounds are about to cease;
下界のひゞきやむところ
Was the figure looking up like him
天上の火を奪ひ來し
Who stole heaven’s fire and brought it to earth?
彼のたぐひか青ぐもの
One eagle soars high in the sky,
大空翔くる鷲一羽
The winds violent and the way far.
あらしははげし道遠し。
265
9. Hirose River (広瀬川: Hirosegawa)
To escape the dust of the capital,
都の塵を逃れ來て
I have returned to the evening cool
今わが歸る故郷の
Of the Hirose River in my hometown.
夕凉しき廣瀬川
The fragrance of wild roses has vanished,
野薔薇の薫り消え失せて
And on the banks where no trace remains of yesterday’s spring 昨日の春は跡も無き
A solitary silent figure stands.
岸に無言の身はひとり。
Forgetting time and forgetting his body,
時をも忘れ身も忘れ
Even forgetting his heart, he stares up at the sky,
心も空に佇ずめば
The breeze coolly clears away the clouds
風は凉しく影冴えて
On a hazy night when the summer moon darts out,
雲間を洩るゝ夏の月
A glowing ring around it—
一輪霞む朧夜の
Where now is the dream of flowers?
花の夢いまいづこぞや。
As one woebegone spring
憂よ思よ一春の
Passes without a trace like a dream,
過ぎて跡なき夢のごと
The memory of bitter tears
にがき涙もおもほへば
Even now has an overwhelming taste.
今に無量の味はあり
What good fortune it would be to desire
浮世を捨てゝおくつきの
To discard the floating world and
暗にとこしへ眠らんと
Sleep in the everlasting darkness of the grave.
願ひしそれも幸なりき。
The current is gentle, the water is pure,
流はゆるし水清し
The midnight moon coolly sets
樂の、光の、波のまに
Amid the music, the light, the ripples.
すゞしく澄める夜半の月、
Ah, the heart of nature in my heart—
あゝ自然の心こゝろにて
If only I had no thoughts in my bosom
胸に思のなかりせば
How pleasant would be the human world.
樂しかるべき人の世を。
266
10. A Hope (希望: Kibō)
When rough offshore breezes blow,
沖の汐風吹きあれて
And fiercely the white waves roar,
白波いたくほゆるとき、
And the evening moon sinks into the waves,
夕月波にしづむとき、
And the darkness creeps in—
黒暗よもを襲ふとき、
There is the light of the stars, leading
空のあなたにわが舟を
My boat to the other side of the sky.
導く星の光あり。
When I wake from this long worldly dream,
ながき我世の夢さめて
And to the earth my corpse returns,
むくろの土に返るとき、
And my heart’s distress comes to an end,
心のなやみ終るとき、
And the shackles of sin are loosed—
罪のほだしの解くるとき、
There is the heavenly voice, leading
墓のあなたに我魂を
My soul to the other side of the grave.
導びく神の御聲あり。
This boat of life floating on the sea
嘆き、わづちひ、くるしみの
Of grief, worry, pain,
海にいのちの舟うけて
Weeping even in dreams, a speck of dust;
夢にも泣くか塵の子よ、
In the baleful roar of the waves of this floating world, 浮世の波の仇騷ぎ
Though the rain and wind be rough, endure—
雨風いかにあらぶとも
For fragrant is the flower of eternal night.
忍べ、とこよの花にほふ――
The inlet in the port tolls spring;
港入江の春告げて、
The coursing river harbors words,
流るゝ川に言葉あり、
The burning flame harbors thoughts,
燃ゆる焔に思想あり、
The skyfaring cloud harbors omens,
空行く雲に啓示あり、
The midnight tempest harbors warnings,
夜半の嵐に諫誡あり、
The human heart harbors a hope.
人の心に希望あり。
267
11. Night and Sleep (「暗」と「眠」: ‘Yami’ to ‘nemuri’)
The river willows, trembling at the sound
夕暮迷ふ蝙蝠の
Of flapping wings of bats roaming at dusk,
羽音にそよぐ川柳
Twist their tangled hair into loops,
其みだれ髮わがねつゝ
And, joining Night and Sleep,
「暗」と「眠」とつれだちて
Have bowed their heads in silence.
梢しづかに下だりけり。
Night walks with silent footfalls,
墨ぞめごろも裾長く
Trailing long robes dyed in black;
「暗」の歩みに音もなし、
And where Sleep casts its shadow,
ふり蒔く露は見えねども
Though unseen is the sprinkled dew,
「眠」の影のさすところ
Eyelids everywhere grow heavy.
人のまぶたは重かりき。
Sorrowful recollections of the past,
過ぐるを憶ふ悲みに
Worried measuring of days to come—
來ん日を計るわづらひに
The burden of one day is enough;
ひと日のわざは足るものを
Come, Night and Sleep, and bring
「暗」よ「眠」よたづね來て
Rest to human children.
休みを賜へ人の子に。
O you, the guilty and the guiltless,
嗚呼罪あるも罪なきも
You who rejoice and you who weep,
喜ぶものも泣くものも
Escape this dream of reality and come,
現の夢を逃れ來て
Wrap yourselves in the robes of Night,
「暗」のころもを纏へかし
Bathe in the dew of Sleep.
「眠」の露に浸れかし。
The stars are silent in the sky,
星宵の空に聲もなく
They now stand sentinel—
よさしは今と佇ずめる
Night and Sleep, whose two shadows
「暗」と「眠」の影ふたつ
Fall mercifully on all the human world—
あまねき惠み人の世に
O how I yearn for you!
たるゝいましのなつかしや。
268
12. Untitled (無題: Mudai)
A garden brimming with perfume
光り玉しく露滿ちて
With rays of light bejeweled with dew
百合花も薔薇も蘭も
And lilies and roses and orchids—
馨りあふるゝ園あらば
You would be the path to tread.
君が踏み行く路とせむ。
A stream running through a pristine field
流るゝ花を誘ひては
Bearing the whiff of the far-off sea
海原遠く香をはこぶ
And tempting the flowers to cast themselves in—
清き野中の川あらば
You would be the glassy water.
君がかゞみの水とせむ。
A star appearing in the evening sky
夕の空に現はれて
Shining on the world of dust
微笑める光に塵の世を
And comforting it with smiling rays—
慰めてらす星あらば
You would be a gem in its crown.
君がかざしの珠とせむ。
A gentle bosom filled
清くたふとく汚なく
With love and tears and pity
戀も涙も憐みも
Pure and noble and unspoiled—
みつるやさしの胸あらば
You would be the shelter for its heart.
君が心の宿とせむ。
13. Lament (哀歌: Aika)
The River Hirose never changes,
同じ昨日の深翠り
The same deep green as yesterday—
廣瀬の流替らねど
And yet the former water must be gone;
もとの水にはあらずかし
The cherry blossoms on the banks have scattered—
汀の櫻花散りて
Where now is the water that reflected
にほひゆかしの藤ごろも
The enchanting glow of wistaria robes?
寫せし水は今いづこ。
The springtime in all hearts is gone
心ごゝろの春去りて
269
And all its color has faded away.
色ことごとく褪めはてつ
When a cold breeze stirs up waves at evening
夕波寒く風たてば
The flower’s spirit loses its way;
行衞や迷ふ花の魂
Too soon her radiant traces vanish
名殘の薫りいつしかに
In the distance on the water’s surface.
水面遠く消えて行く。
The winds of spring on Zuihō Hill
恨みを吹くや年ごとの
Blow with grief down through the years;
瑞鳳山の春の風
Her color are the flowery robes
をのへの霞くれなゐの
Of crimson on the misty ridge;
色になぞらふ花ごろも
How can their fragile dimmed glow
とめし薫りのはかなさは
Bear up when darkness falls?
何に忍びむ夕まぐれ。
A spring cloud figure on the hill
暮山一朶の春の雲
At dusk sweeps up its green sidelocks;
緑の鬢を拂ひつゝ
Her sleeves touching a fallen comb,
落つる小
Her hems’ enchanting deep purple,
ゆかしゆかりの濃紫
The willow-beauty’s splendid garments
羅綺にも堪へぬ柳腰の
Weigh her down, like drooping flowers’ hems;
枝垂は同じ花の縁
Those flowers have scattered, and above
花散りはてし夕空を
The night sky’s stars are tears, as well.
仰げば星も涙なり。
The pond’s ripples, the sky’s rainbow—
池のさゞ波空の虹
In the shade of flowers I weep over
いみじは脆き世の道を
The path of splendor in this fragile world;
われはた泣かむ花の蔭
The evening breeze sweeps flowers away,
其花掃ふ夕風に
I’ll call upon the butterfly’s home
蝴蝶の宿を音づれて
To ask, “What of yesterday’s dream?”
問はん「昨日の夢いかに」
As butterflies and bees that bid
春を誘ふて蜂蝶の
Spring come now go beyond the sky,
空のあなたに去るがごと
The jeweled pin cracks, the stars have fallen;
玉釵碎けて星落ちて
O where now is that flower’s spirit?
あはれ芳魂いまいづこ
270
に觸る袖も
The bare twig is all that remains,
殘るは枯れし花の枝
Grief in the spring rain is what endures.
盡きぬは恨み春の雨。
Grief in the spring rain is what endures.
盡きぬは恨み春の雨
What presently becomes the flame
ともしび暗きさよ中の
Along dark night’s straight dream path?
夢のたゝちをいかにせむ
That trace of her in yesterdays
ありし昨日の面影に
Bestowing her unchanging smile,
替はらぬ笑みも含ませて
One spray of noted flowers
名におふ花の一枝は
In that slender, jewel-like hand!
嗚呼その細き玉の手に。
271
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