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220 pages, Paperback
First published January 1, 1235
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2,060 people want to read
About the author
Fujiwara no Teika
13?books6?followersBorn in 1162
Japanese classical poet, government official, and literary scholar, also known as Fujiwara Sadaie (藤原定家)
Japanese classical poet, government official, and literary scholar, also known as Fujiwara Sadaie (藤原定家)
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Displaying 1 - 30 of 160 reviews
August 9, 2018
Soon, we will not be
in this world together
And all will be a memory:
Now, for just a moment,
How I wish to meet.
— Izumi Shikibu, #56
Better than Neruda, I tell you.
One hundred people, one poem each. That's the Ogura Hyakunin Isshu, a Japanese anthology compiled by Fujiwara no Teika (1162-1241), a renowned poet from Ogura, Kyoto. He is considered one of the masters of waka, a type of poetry which consists of five lines with a total of 31 syllables that now is commonly known as tanka.
Among the ones I highlighted there are poems by Sarumaru no Dayu (#5), Ono no Komachi (#9), Fujiwara no Kanesuke (#27), Ki no Tsurayuki (#35), Gyōson (#66), Lady Suō no Naishi (#67) and Retired Emperor Sutoku (#79).
Each English version is followed by the original text in Japanese and romaji and a literal translation. Some of them include long chains of possible words, so several poems can be read in so many ways and they all work - a masterful demonstration of wordplay. Additionally, some of them come with a brief explanation of the historical context in which they were written or something about the personal life of the poet.
#33
by Ki no Tomonori (c. 850 – c. 904)
Eternal moon
And fading light-
This spring day,
A restless heart
And scattered blossoms.
*
久方の
光のどけき
春の日に
しづ心なく
花のちるらむ
*
Hisakata no
Hikari nodokeki
Haru no hi ni
Shizu-gokoro naku
Hana no chiruran
This poem gives a sense of long-lasting happiness ("the eternal moon") combined with a worry that it is ending ("losing light", "restless heart", "scattered [cherry] blossoms"). Cherry blossoms are known for their vivid beauty, but they only bloom for a couple weeks a year before scattering and disappearing...
A recurring, useless and yet sometimes inevitable way to experience a brief moment of happiness, isn't it? I love it for that.
As it usually happens with Japanese poetry, nature and human emotions are vividly entangled, developing strong visual descriptions. A thousand words - often difficult to utter - are replaced by one single and effective image. An endless night, a pale moon, autumn leaves, a broken brook, scattered cherry blossoms.
My personal favorite:
#83
by Fujiwara no Toshinari (1114-1204)
Society's midst
A tearful path,
Desiring retreat
To mountain depths–
But there too, a deer cries.
*
世の中よ
道こそなけれ
思ひ入る
山のおくにも
鹿ぞ鸣くなる
*
Yo no naka yo
Michi koso nakere
Omoi iru
Yama no oku ni mo
Shika zo naku naru
July 19-20, 18
* Photo / CC
** Also on
July 26, 2018
Kakinomoto no Hitomaro
Oh, the foot-drawn trail
Of the mountain-pheasant's tail
Drooped like down-curved branch!
Through this long, long-dragging night
Must I lie in bed alone?
---
Ono no Komachi
Color of the flower
Has already faded away,
While in idle thoughts
My life passes vainly by,
As I watch the long rains fall.
---
Minamoto no Toru
Like Michinoku prints
Of the tangled leaves of ferns,
It is because of you
That I have become confused;
But my love for you remains.
---
Ariwara no Yukihira
Though we are parted,
If on Mount Inaba's peak
I should hear the sound
Of the pine trees growing there,
I'll come back again to you.
---
Mibu no Tadamine
Like the morning moon,
Cold, unpitying was my love.
And since we parted,
I dislike nothing so much
As the breaking light of day.
---
Fujiwara no Okikaze
Who is still alive
When I have grown so old
That I can call my friends?
Even Takasago's pines
No longer offer comfort
---
Minamoto no Hitoshi
Bamboo growing
Among the tangled reeds
Like my hidden love:
But it is too much to bear
That I still love her so.
---
Sone no Yoshitada
Like a mariner
Sailing over Yura's strait
With his rudder gone:
Where, over the deep of love,
The end lies, I do not know.
---
Fujiwara no Michimasa
Is there any way
Except by a messenger
To send these words to you?
If I could, I'd come to you
To say goodbye forever.
---
Oe no Masafusa
On that far mountain
On the slope below the peak
Cherries are in flower.
Oh, let the mountain mists
Not arise to hide the scene.
---
Lady Horikawa
Is it forever
That he hopes our love will last?
He did not answer.
And now my daylight thoughts
Are as tangled as my black hair.
---
Lady Sanuki
Like a rock at sea,
At ebb-tide hidden from view,
Is my tear-drenched sleeve:
Never for a moment dry,
And no one knows it is there.
---
Fujiwara no Kintsune
Not the snow of flowers,
That the hurrying wild wind whirls
Round the garden court:
What withers and falls away
In this place is I myself.
---
Emperor Juntoku
In this ancient house,
Paved with a hundred stones,
Ferns grow in the eaves;
But numerous as they are,
My old memories are more
Oh, the foot-drawn trail
Of the mountain-pheasant's tail
Drooped like down-curved branch!
Through this long, long-dragging night
Must I lie in bed alone?
---
Ono no Komachi
Color of the flower
Has already faded away,
While in idle thoughts
My life passes vainly by,
As I watch the long rains fall.
---
Minamoto no Toru
Like Michinoku prints
Of the tangled leaves of ferns,
It is because of you
That I have become confused;
But my love for you remains.
---
Ariwara no Yukihira
Though we are parted,
If on Mount Inaba's peak
I should hear the sound
Of the pine trees growing there,
I'll come back again to you.
---
Mibu no Tadamine
Like the morning moon,
Cold, unpitying was my love.
And since we parted,
I dislike nothing so much
As the breaking light of day.
---
Fujiwara no Okikaze
Who is still alive
When I have grown so old
That I can call my friends?
Even Takasago's pines
No longer offer comfort
---
Minamoto no Hitoshi
Bamboo growing
Among the tangled reeds
Like my hidden love:
But it is too much to bear
That I still love her so.
---
Sone no Yoshitada
Like a mariner
Sailing over Yura's strait
With his rudder gone:
Where, over the deep of love,
The end lies, I do not know.
---
Fujiwara no Michimasa
Is there any way
Except by a messenger
To send these words to you?
If I could, I'd come to you
To say goodbye forever.
---
Oe no Masafusa
On that far mountain
On the slope below the peak
Cherries are in flower.
Oh, let the mountain mists
Not arise to hide the scene.
---
Lady Horikawa
Is it forever
That he hopes our love will last?
He did not answer.
And now my daylight thoughts
Are as tangled as my black hair.
---
Lady Sanuki
Like a rock at sea,
At ebb-tide hidden from view,
Is my tear-drenched sleeve:
Never for a moment dry,
And no one knows it is there.
---
Fujiwara no Kintsune
Not the snow of flowers,
That the hurrying wild wind whirls
Round the garden court:
What withers and falls away
In this place is I myself.
---
Emperor Juntoku
In this ancient house,
Paved with a hundred stones,
Ferns grow in the eaves;
But numerous as they are,
My old memories are more
May 29, 2021
3,5 stars.
A 2012 translation of the hundred-poem collection “Hyakunin Isshu”, this book may feel a bit plain, but the poems make it worth getting. The collection was made c.1237, and included also one from the compiler. Before the poems is a brief guide to the poems and the collection: the poems timewise are from 7th to 13th Century, in loose chronological order, written by men and women of upper classes, including some emperors and empresses, monks and priests. They are in tanka form.
Cold dawn,
A waning moon
With no companion –
Since our parting, nothing is so loveless
As the break of day
- Mibu No Tadamine
The poems themselves have much imagery, wordplay, words have layers of meaning (and many meanings due to language used), and themes include seasons, nature things, and/or time of the day. I can see well that many will sounds greater when read aloud.
I do not know
The constancy of his heart –
And this morning
My hair and feelings
Are both in tangles
- Lady Horikawa
Each poem has a suitable painting accompanying it (though in black and white), original text, literal translation, and sometimes further notes on it. Some familiar people are included, like Murasaki Shikibu and Sei Shonagon. I’m sure everyone can find their favorites among these poems. I got this book just out of curiosity, but it was a good choice (the pictures fit pretty well, most of the time, too). A nice adding to my Japanese poetry collection 8)
A 2012 translation of the hundred-poem collection “Hyakunin Isshu”, this book may feel a bit plain, but the poems make it worth getting. The collection was made c.1237, and included also one from the compiler. Before the poems is a brief guide to the poems and the collection: the poems timewise are from 7th to 13th Century, in loose chronological order, written by men and women of upper classes, including some emperors and empresses, monks and priests. They are in tanka form.
Cold dawn,
A waning moon
With no companion –
Since our parting, nothing is so loveless
As the break of day
- Mibu No Tadamine
The poems themselves have much imagery, wordplay, words have layers of meaning (and many meanings due to language used), and themes include seasons, nature things, and/or time of the day. I can see well that many will sounds greater when read aloud.
I do not know
The constancy of his heart –
And this morning
My hair and feelings
Are both in tangles
- Lady Horikawa
Each poem has a suitable painting accompanying it (though in black and white), original text, literal translation, and sometimes further notes on it. Some familiar people are included, like Murasaki Shikibu and Sei Shonagon. I’m sure everyone can find their favorites among these poems. I got this book just out of curiosity, but it was a good choice (the pictures fit pretty well, most of the time, too). A nice adding to my Japanese poetry collection 8)
December 24, 2014
Cento poesie di cento poeti diversi: un'antologia dedicata a un'epoca, alle sue generazioni e alla sua cultura, che non celebra gli individui ma l'insieme, la comunità. Colpisce soprattutto la ricchezza di questa polifonia: gli autori, presentati in ordine cronologico, sono legati tra loro da rapporti di amicizia, di parentela, da alleanze o rivalità politiche: imperatori, imperatrici, principi e loro funzionari; madri e figlie, zii e nipoti, maestri e allievi, monaci, pittrici - un intreccio di ruoli piacevolmente teatrale. Per molte di queste persone la poesia era un utile strumento di comunicazione; così il lettore assiste, seppure per brevissimi istanti (le cento poesie appartengono tutte alla tradizione del tanka: cinque versi ciascuna) a dialoghi tra amanti delusi o tra rivali in competizione per il potere. Questa raccolta risale al XIII secolo; in seguito molti provarono a crearne di simili, imitandone la struttura. Una lettura ricchissima, e molto suggestiva.
February 3, 2020
One Hundred Poets, One Poem Each
Translated by Peter MacMillan
Dating back to the seventh century, these treasures of ancient Japan’s poetry are the most popular and widely read poems in Japan even today.
On spring and summer, on autumn and winter, on travel and rest, on grief and above all on love, these short poems are the precursors of haiku, called waka poems.
“How cold the face
of the morning moon!
Since we parted
nothing is so miserable
as the approaching dawn.” Mibu no Tadamine
The natural world transformed into dreamy images and paintings of the imagination; these poems enter the reader's heart and linger there for as long as he wishes to follow the poet’s feelings.
As in the poems of “Tales of Ise” the reader of the English translation is left on the surface of the true interpretation as the translation can only transmit the meanings as far as the English language permits and even more so, as far as the Ancient Japanese culture can compare to the modern Western culture.
The classic collection of ancient Japan is based on the three major works of “Tales of Ise” and “The Tale of Genji” and the collection of “One Hundred Poets, One Poem Each,”
I must admit that preference remains with the Tale of Genji.
It is by far the easiest to read and enjoy. It is written in prose, and abandonedly developed in-depth. Unforgettable indeed and well worth a reread.
There is so much to appreciate that the reader can hardly discover all at once.
Translated by Peter MacMillan
Dating back to the seventh century, these treasures of ancient Japan’s poetry are the most popular and widely read poems in Japan even today.
On spring and summer, on autumn and winter, on travel and rest, on grief and above all on love, these short poems are the precursors of haiku, called waka poems.
“How cold the face
of the morning moon!
Since we parted
nothing is so miserable
as the approaching dawn.” Mibu no Tadamine
The natural world transformed into dreamy images and paintings of the imagination; these poems enter the reader's heart and linger there for as long as he wishes to follow the poet’s feelings.
As in the poems of “Tales of Ise” the reader of the English translation is left on the surface of the true interpretation as the translation can only transmit the meanings as far as the English language permits and even more so, as far as the Ancient Japanese culture can compare to the modern Western culture.
The classic collection of ancient Japan is based on the three major works of “Tales of Ise” and “The Tale of Genji” and the collection of “One Hundred Poets, One Poem Each,”
I must admit that preference remains with the Tale of Genji.
It is by far the easiest to read and enjoy. It is written in prose, and abandonedly developed in-depth. Unforgettable indeed and well worth a reread.
There is so much to appreciate that the reader can hardly discover all at once.
September 6, 2020
Ma nautisin seda teost v?ga.
Ma hindan k?rgelt t?lkija pingutust (klassikalise) jaapanikeelse luule otsesel edasiandmisel eesti keelde. Luule t?lkimine on minu jaoks alati tundunud üliinimliku tegevusena. Lisaks teksti m?ttele tuleb s?ilitada ka riim ja rütm ning k?esolevas teoses leiduvate luuletuste (waka'de) puhul ka silpide arv (5-7-5-7-7). ?hel juhul on eestikeelne t?lge j?rginud originaalluuletuses leiduvat Hiina luulest p?rit v?tet, mille puhul v?rsid algavad sama h??likuga. Oma elu jooksul olen p?gusalt tutvunud Aasia kirdeosas paiknevate riikide/piirkondade laulude ja poeesiaga ning mulle tundub, et neis peitub tihti midagi, mida ei ole v?imalik teistes keeltes edasi anda (eesti keel j?uab ses osas kindlasti l?hemale kui n?iteks inglise keel). Neis peituvad sellised tunded, mida süda tunneb h?sti, kuid mida keel ei ole kunagi ?elnud. ?Sada luuletust, sada luuletajat“ t?estas minu jaoks, et hea t?lkega saab m?istmisele siiski v?ga l?hedale j?uda.
Temaatika poolest tuleb taas nentida, et inimloomus on sajandeid püsinud üsna sarnasena – figureerivad loodusteemalised ning inimsuhetest k?nelevad luuletused. Samas on v?rratu, kuidas nii v?heste s?nadega saab ?elda nii paljut. Kuigi luulet v?ib lugeda igal ajal igas kohas, sobib ?Sada luuletust, sada luuletajat“ justkui valatult j?rjest külmemaks minevasse sügisesse, mille ?htutel saab kodus teki all kerra keerata. K?ige mainitum aastaaeg luuletustes ongi sügis – t?lkija seostab seda üksindusnukrusega. T?lkija kommentaarid annavad juurde teavet luuletajate kohta, konteksti ja selgitust, mis aitavad s?nadel veelgi rohkem naha vahele pugeda.
Kuigi enamik luuletustest k?netasid mind, j?i üks siiski eriti meelde, kuna kirjeldas praktiliselt s?na-s?nalt seda, kuidas ma ei suutnud lugemisp?eval enam üksindust taluda ning suundusin sihitult m??da linna ekslema (70. luuletus, ?petaja Ryōzen):
?ksindustunne
ajas mu onnist v?lja,
kuid ümberringi
on k?ikjal üks ja sama
sügis?htu h?marus.
Seega n?ustun teose tagakaanel oleva M?rt-Matis Lille arvustusega, et teoses olevad waka'd m?juvad "v?rskete ja vahetutena".
Ma hindan k?rgelt t?lkija pingutust (klassikalise) jaapanikeelse luule otsesel edasiandmisel eesti keelde. Luule t?lkimine on minu jaoks alati tundunud üliinimliku tegevusena. Lisaks teksti m?ttele tuleb s?ilitada ka riim ja rütm ning k?esolevas teoses leiduvate luuletuste (waka'de) puhul ka silpide arv (5-7-5-7-7). ?hel juhul on eestikeelne t?lge j?rginud originaalluuletuses leiduvat Hiina luulest p?rit v?tet, mille puhul v?rsid algavad sama h??likuga. Oma elu jooksul olen p?gusalt tutvunud Aasia kirdeosas paiknevate riikide/piirkondade laulude ja poeesiaga ning mulle tundub, et neis peitub tihti midagi, mida ei ole v?imalik teistes keeltes edasi anda (eesti keel j?uab ses osas kindlasti l?hemale kui n?iteks inglise keel). Neis peituvad sellised tunded, mida süda tunneb h?sti, kuid mida keel ei ole kunagi ?elnud. ?Sada luuletust, sada luuletajat“ t?estas minu jaoks, et hea t?lkega saab m?istmisele siiski v?ga l?hedale j?uda.
Temaatika poolest tuleb taas nentida, et inimloomus on sajandeid püsinud üsna sarnasena – figureerivad loodusteemalised ning inimsuhetest k?nelevad luuletused. Samas on v?rratu, kuidas nii v?heste s?nadega saab ?elda nii paljut. Kuigi luulet v?ib lugeda igal ajal igas kohas, sobib ?Sada luuletust, sada luuletajat“ justkui valatult j?rjest külmemaks minevasse sügisesse, mille ?htutel saab kodus teki all kerra keerata. K?ige mainitum aastaaeg luuletustes ongi sügis – t?lkija seostab seda üksindusnukrusega. T?lkija kommentaarid annavad juurde teavet luuletajate kohta, konteksti ja selgitust, mis aitavad s?nadel veelgi rohkem naha vahele pugeda.
Kuigi enamik luuletustest k?netasid mind, j?i üks siiski eriti meelde, kuna kirjeldas praktiliselt s?na-s?nalt seda, kuidas ma ei suutnud lugemisp?eval enam üksindust taluda ning suundusin sihitult m??da linna ekslema (70. luuletus, ?petaja Ryōzen):
?ksindustunne
ajas mu onnist v?lja,
kuid ümberringi
on k?ikjal üks ja sama
sügis?htu h?marus.
Seega n?ustun teose tagakaanel oleva M?rt-Matis Lille arvustusega, et teoses olevad waka'd m?juvad "v?rskete ja vahetutena".
Read
July 8, 2012The back of this elegant little booklet says: Around 1235, Japanese poet and scholar Fujiwara no Teika compiled for his son's father-in-law a collection of 100 poems by 100 poets.
Within its chronological summary of six centuries of Japanese literature, Teika arranged a poetic conversation that ebbs and flows through a variety of subjects and styles. The collection became the exemplar of the genre--a mini-manual of classical poetry, taught in the standard school curriculum and used in a memory card game still played during New Year's.
Larry Hammer, the translator, not only gives alternate meanings for phrases, but he furnishes clues to meanings otherwise hidden to the Westerner ignorant of the subtleties of the various styles through these six centuries of Japanese history.
Here's one that I liked:
80. Empress Haiken's Horikawa
Whether his feelings
will also last, I don't know,
and my black hair is
disordered as, this morning,
my thoughts certainly are.
The image of the lover with long, ruffled hair is so evocative and romantic! About it, Hammer says, An attendant of the imperial court . . .the origin of the use-name Horikawa ("moat-river") is uknown, but it seems unrelated to the earlier emperor of that name. Again, the "mono" thought about is clearly the other person.
How about this one?
92. Sanuki
My sleeve is like
a rock in the open sea
unseen at low tide,
for no one knows about it
and so it never dries out.
That's evocative enough, right there--and then Hammer furnishes the hidden clues: A lady-in-waiting to retired emperor Nijo and later to a consort of Go-Toba, her use-name is from Sanuki Province (now Kagawa Prefecture) but her connection to it is obscure.
Written on "love compared to a stone." The original can be read as that it's either people in general or a particular person who does not know her sleeves are wet. Sleeves were normally all that a modest court lady showed of herself in public, so the implication is she's hiding hers to avoid revealing they're damp from crying over a broken heart, keeping them from drying.
The poems do ebb and flow, furnishing an elliptical, or elusive, conversation, if one reads them in order. But I found equal pleasure in opening the book anywhere, and picking one to read and think about.
Within its chronological summary of six centuries of Japanese literature, Teika arranged a poetic conversation that ebbs and flows through a variety of subjects and styles. The collection became the exemplar of the genre--a mini-manual of classical poetry, taught in the standard school curriculum and used in a memory card game still played during New Year's.
Larry Hammer, the translator, not only gives alternate meanings for phrases, but he furnishes clues to meanings otherwise hidden to the Westerner ignorant of the subtleties of the various styles through these six centuries of Japanese history.
Here's one that I liked:
80. Empress Haiken's Horikawa
Whether his feelings
will also last, I don't know,
and my black hair is
disordered as, this morning,
my thoughts certainly are.
The image of the lover with long, ruffled hair is so evocative and romantic! About it, Hammer says, An attendant of the imperial court . . .the origin of the use-name Horikawa ("moat-river") is uknown, but it seems unrelated to the earlier emperor of that name. Again, the "mono" thought about is clearly the other person.
How about this one?
92. Sanuki
My sleeve is like
a rock in the open sea
unseen at low tide,
for no one knows about it
and so it never dries out.
That's evocative enough, right there--and then Hammer furnishes the hidden clues: A lady-in-waiting to retired emperor Nijo and later to a consort of Go-Toba, her use-name is from Sanuki Province (now Kagawa Prefecture) but her connection to it is obscure.
Written on "love compared to a stone." The original can be read as that it's either people in general or a particular person who does not know her sleeves are wet. Sleeves were normally all that a modest court lady showed of herself in public, so the implication is she's hiding hers to avoid revealing they're damp from crying over a broken heart, keeping them from drying.
The poems do ebb and flow, furnishing an elliptical, or elusive, conversation, if one reads them in order. But I found equal pleasure in opening the book anywhere, and picking one to read and think about.
August 3, 2023
Uma das melhores tradu??es de poesia que devo ter lido na vida.
April 12, 2021
First of all full disclosure, I had the great pleasure of reading and talking about these poems in workshop before they were published.
In every poem I was struck by the depth of feeling and nuance of emotion in these short but deftly written pieces.
I think so much of the contemporary feel and relatability of the poems are conveyed because of the translations by the author John Gribble. John has brought these very old stories to light and life, he’s made them accessible to a new generation of readers.
I was struck by how much sadness and humor there lies in these poems. And how much longing for love, hoped for... and lost.
If you have any interest in poetry, the Japanese soul, or just wonderful writing I highly recommend this book.
In every poem I was struck by the depth of feeling and nuance of emotion in these short but deftly written pieces.
I think so much of the contemporary feel and relatability of the poems are conveyed because of the translations by the author John Gribble. John has brought these very old stories to light and life, he’s made them accessible to a new generation of readers.
I was struck by how much sadness and humor there lies in these poems. And how much longing for love, hoped for... and lost.
If you have any interest in poetry, the Japanese soul, or just wonderful writing I highly recommend this book.
October 8, 2019
Another great work by Peter Macmillan, whose translations of the poems are effective as poetry, but whose elaborate textual apparatus is a glory to behold for nerds like me. You can read all the poems in an hour. You could spend your life puzzling over them.
March 16, 2022
depois desta noite
se comparo o meu cora??o
de agora ao de antes
percebo que eu nunca
soube o que era amar
*Fujiwara no Atsutada
----------------------------------------
antes, pelo teu amor
quisera oferecer
a minha vida
depois de te ter
que seja infinita
*Fujiwara no Yoshitaka
se comparo o meu cora??o
de agora ao de antes
percebo que eu nunca
soube o que era amar
*Fujiwara no Atsutada
----------------------------------------
antes, pelo teu amor
quisera oferecer
a minha vida
depois de te ter
que seja infinita
*Fujiwara no Yoshitaka
January 29, 2023
100 very sweet 5 line poems. This one was written by Sarumaru Dayū around 880 after his wife Aki’s death.
Deep among the hills
Pushing through fallen red leaves
I have to listen
To the voice of a lone deer
Calling for his mate, also.
Deep among the hills
Pushing through fallen red leaves
I have to listen
To the voice of a lone deer
Calling for his mate, also.
April 10, 2025
“Thoughts of a thousand things
fill me with melancholy
as I gaze upon the moon,”
Haiku q? do i rilexoja e rilexoja gjer n? pafund?si.
fill me with melancholy
as I gaze upon the moon,”
Haiku q? do i rilexoja e rilexoja gjer n? pafund?si.
May 30, 2021
One of the most bizarre things that led me to a book was for this gem. I was watching a Japanese TV series where one of the characters recited the first verse from this book. And given how lyrical things can be in Japanese, I was smitten. At the time I had no idea about Hyakunin Isshu. But merely listening to the verse put me on the trail to look it up. That verse is the only one I can recite from memory even now. It led me to this book which I have read twice since. And I believe I can attempt its review now.
This book is an anthology of imperial poetry from the Heian period of Japanese history. Knowing the influence the Fujiwara family had during the Heian times, it isn't surprising to find one of their scions as the editor behind one of the most famous anthologies. Teika, a renowned poet himself, had edited other anthologies before. For this one, he chose hundred classical verses and compiled them into an anthology that has come to be highly regarded ever since. One can't help but get charmed by the selections he made, that leverage the strengths of classical waka poetry, expressing deep emotion and refinement of sensibility in images of profound simplicity. Hyakunin Isshu is without doubt an exemplary work in this regard. Subtlety and allusiveness are wielded deftly to conjure visual imagery with profound emotion. And if there's one thing that the Heian poetry was the best at, it was this play on different senses of the reader. One need not pair these poems with any visual depictions. They are powerful enough to evoke both the imagery and the feelings paired with it. Not ekphratic in the truest sense, but close. Very close.
The collection is rife with references to famous locations which have retained their associations even in the present time. The ambiguity of the subject allows for multiple reading of several verses, each rich with meaning in the changed context. Much focus is on the natural world, celebrating the beauty of a fleeting moment and the ability to be moved by it. The abundance of punning and wordplay which doesn't lend itself well to any translation, can still be seen in the attempts made by the translator, with more information on the nuances and other details offered in the accompanying commentary section.
There is just so much to recommend this collection of poems. This work alludes to many other well known works of Japanese literature ( , etc.) There is a sense of history reaching out to the readers and pulling them back to much simpler but nuanced times. Will I read this again in the future? Definitely. Personally, I have come to love this short collection. So much so that I wish I could read and enjoy the original. I will be listing some of my favourites below, in the hope that more people will read this and experience the beauty within. :)
This book is an anthology of imperial poetry from the Heian period of Japanese history. Knowing the influence the Fujiwara family had during the Heian times, it isn't surprising to find one of their scions as the editor behind one of the most famous anthologies. Teika, a renowned poet himself, had edited other anthologies before. For this one, he chose hundred classical verses and compiled them into an anthology that has come to be highly regarded ever since. One can't help but get charmed by the selections he made, that leverage the strengths of classical waka poetry, expressing deep emotion and refinement of sensibility in images of profound simplicity. Hyakunin Isshu is without doubt an exemplary work in this regard. Subtlety and allusiveness are wielded deftly to conjure visual imagery with profound emotion. And if there's one thing that the Heian poetry was the best at, it was this play on different senses of the reader. One need not pair these poems with any visual depictions. They are powerful enough to evoke both the imagery and the feelings paired with it. Not ekphratic in the truest sense, but close. Very close.
The collection is rife with references to famous locations which have retained their associations even in the present time. The ambiguity of the subject allows for multiple reading of several verses, each rich with meaning in the changed context. Much focus is on the natural world, celebrating the beauty of a fleeting moment and the ability to be moved by it. The abundance of punning and wordplay which doesn't lend itself well to any translation, can still be seen in the attempts made by the translator, with more information on the nuances and other details offered in the accompanying commentary section.
There is just so much to recommend this collection of poems. This work alludes to many other well known works of Japanese literature ( , etc.) There is a sense of history reaching out to the readers and pulling them back to much simpler but nuanced times. Will I read this again in the future? Definitely. Personally, I have come to love this short collection. So much so that I wish I could read and enjoy the original. I will be listing some of my favourites below, in the hope that more people will read this and experience the beauty within. :)
"Breezes of Heaven, blow closed
the pathway through the clouds
to keep a little longer
these heavenly dancers
from returning home."
"This troubled heart of mine
is like the watch fire of the guards
of the palace gate -
it fades to embers by day,
but blazes up again each night."
"When the wind gusts
over the autumn fields,
white dewdrops
lie strewn about
like scattered pearls."
November 13, 2011
In the 13th century CE, a nobleman named Teika of the Fujiwara clan compiled an anthology of 100 poems, each by a different poet, the Hyakunin Isshu. This volume wasn’t unique, but as Larry Hammer notes in his foreward, this particular collection has become so famous over the years that any time someone refers to the Hyakunin Isshu, they mean this one. Anyone who has watched much anime may have seen a memory card game called karuta being played on New Year’s Day. That card game is based on this compilation, which shows just how well the anthology has survived in Japan’s popular culture down to the modern age.
Among the nobility, poems were more than entertainment or expression, but a very important form of communication. Lovers would write poems to their intendeds and they answer in the same manner. Poems were written to flatter, to ask for favors, to defend oneself against slanders, to reminisce, to more or less gently turn aside unwelcome attentions, or pretty much any communication that required taste, propriety and delicacy. I’m no poet, nor do I pretend to grasp the esthetics of traditional Japanese poetry (waka) which make up this volume. I will say that even someone with a superficial knowledge of the subject can appreciate the intelligence, the skill and the wit that are so much a part of the form. Poems were full of puns, in-jokes, classical allusions, double-meanings, and deliberate ambiguity. There’s a playfulness in traditional Japanese poetry that comes through even in translation, though the skill and intent of the translator can make a big difference.
I think Hammer has done an excellent job, not only in the translation itself, but in the poem notes that tell us who the poet was and the context of the poem’s creation if known, which adds so much to the reader’s appreciation. As someone fascinated by process in general, I also enjoyed Hammer’s explanations of the choices he made, as choices must always be made in rendering a poem in another language into modern English. Someone comparing this volume to other translations can agree or disagree with his renderings, but at least you would know why he did what he did and didn’t do something else. Strictly as an interested amateur, I found it all fascinating reading.
I’d consider this a very good introductory volume of the Hyakunin Isshu for anyone curious about Japanese traditional poetry. The book was marred by a few typos in the text, but not so many as to interfere with reading. Highly recommended.
Among the nobility, poems were more than entertainment or expression, but a very important form of communication. Lovers would write poems to their intendeds and they answer in the same manner. Poems were written to flatter, to ask for favors, to defend oneself against slanders, to reminisce, to more or less gently turn aside unwelcome attentions, or pretty much any communication that required taste, propriety and delicacy. I’m no poet, nor do I pretend to grasp the esthetics of traditional Japanese poetry (waka) which make up this volume. I will say that even someone with a superficial knowledge of the subject can appreciate the intelligence, the skill and the wit that are so much a part of the form. Poems were full of puns, in-jokes, classical allusions, double-meanings, and deliberate ambiguity. There’s a playfulness in traditional Japanese poetry that comes through even in translation, though the skill and intent of the translator can make a big difference.
I think Hammer has done an excellent job, not only in the translation itself, but in the poem notes that tell us who the poet was and the context of the poem’s creation if known, which adds so much to the reader’s appreciation. As someone fascinated by process in general, I also enjoyed Hammer’s explanations of the choices he made, as choices must always be made in rendering a poem in another language into modern English. Someone comparing this volume to other translations can agree or disagree with his renderings, but at least you would know why he did what he did and didn’t do something else. Strictly as an interested amateur, I found it all fascinating reading.
I’d consider this a very good introductory volume of the Hyakunin Isshu for anyone curious about Japanese traditional poetry. The book was marred by a few typos in the text, but not so many as to interfere with reading. Highly recommended.
June 15, 2012
I had no idea what to expect from One Hundred Leaves, but suspected I would be flummoxed by the poetry. But I was wrong.
These poems are simple but beautiful in that simplicity. Each page has a poem translation. Each has the original Japanese with a pronunciation key. Each has literal notes and some have further explanations, such as double meanings or information about the author. Finally, each poem is next to a print of Japanese Art (in black and white/grayscale.)
Where was this book when I had World literature?
I loved this book!
These poems are simple but beautiful in that simplicity. Each page has a poem translation. Each has the original Japanese with a pronunciation key. Each has literal notes and some have further explanations, such as double meanings or information about the author. Finally, each poem is next to a print of Japanese Art (in black and white/grayscale.)
Where was this book when I had World literature?
I loved this book!
October 10, 2014
The kind of poetry for vulnerable and sensitive people. Capturing images in very view words, and successfully delivering the exact situation on both, physical and emotional level. The amount of love for nature and rural life reminded me of the Romantic Poets. Sakura and the moon are their only friends, and they hear the mourns of a sad dear in the dead of the night.
Reading and memorizing the The Hyakunin-isshu in the original Japanese script serves as a motivation for me to keep on studying this amazingly poetical language.
Worthy of more than five stars.
Reading and memorizing the The Hyakunin-isshu in the original Japanese script serves as a motivation for me to keep on studying this amazingly poetical language.
Worthy of more than five stars.
October 28, 2018
This is a great translation-- the style and presentation of poems on their own (without footnotes) makes the text wonderfully accessible and enjoyable as literature in its own right. The inclusion of a concise introduction, detailed endnotes, and other resources such as maps makes this edition ideal for use in the undergrad classroom or as a volume through which the interested general reader can delve as deeply into the historical and social context as they wish. Looking forward to reading it again with my class in the future.
March 31, 2021
John Gribble's translation of "Ogura Hyakunin Isshu" (One Hundred Poets, One Each) by Fujiwara no Teika provides a fresh and modern glimpse into the ancient Japanese world. With one poem on each page, followed by the original in roman characters, the reader can fully savor each waka individually. The notes at the end of the book provide information on each of the 100 poets. Highly recommend!!
February 28, 2022
Favorieten: 3, 15, 21, 31, 36, 40, 41, 56, 63, 66, 72, 91
Ondanks dat de gedichten uit deze collectie minstens 1000 jaar oud zijn, zijn de meesten (soms met wat extra achtergrondinformatie) toch nog heel herkenbaar en relevant. Een bewijs dat menselijke emotie in welke tijd dan ook onveranderd blijft en dat een groot deel van de mensen met dezelfde soort gevoelens te maken krijgt in de loop van hun leven.
36.
On this summer night,
when twilight has so quickly
become the dawn,
where is the moon at rest
among the clouds?
41.
I had hoped to keep secret
feelings that had begun to stir
within my heart,
but already rumours are rife
that I am in love with you.
66.
Mountain Cherry,
let us console each other.
Of all those I know
no one understands me
the way your blossoms do.
Ondanks dat de gedichten uit deze collectie minstens 1000 jaar oud zijn, zijn de meesten (soms met wat extra achtergrondinformatie) toch nog heel herkenbaar en relevant. Een bewijs dat menselijke emotie in welke tijd dan ook onveranderd blijft en dat een groot deel van de mensen met dezelfde soort gevoelens te maken krijgt in de loop van hun leven.
36.
On this summer night,
when twilight has so quickly
become the dawn,
where is the moon at rest
among the clouds?
41.
I had hoped to keep secret
feelings that had begun to stir
within my heart,
but already rumours are rife
that I am in love with you.
66.
Mountain Cherry,
let us console each other.
Of all those I know
no one understands me
the way your blossoms do.
February 8, 2022
Just like with The Tales of Ise, I ended up reading this one twice back to back; first time around I did not bother with the translator's commentary and notes on the setting of the poems and the cultural significance and circumstances of their authors and instead I purely enjoyed them at face value.
Regardless of which way one chooses to read the poems, with or without the commentary, they remain equally beautiful and captivating. For some reason that I cannot quite pinpoint right now, I feel like this one falls a little bit short of the beauty of The Tales of Ise; maybe it's the lack of narrative, which, considering this is an anthology is to be expected or maybe it's simply due to my taste in Japanese poetry (or its translation), either way, it's a brilliant little book nonetheless.
Regardless of which way one chooses to read the poems, with or without the commentary, they remain equally beautiful and captivating. For some reason that I cannot quite pinpoint right now, I feel like this one falls a little bit short of the beauty of The Tales of Ise; maybe it's the lack of narrative, which, considering this is an anthology is to be expected or maybe it's simply due to my taste in Japanese poetry (or its translation), either way, it's a brilliant little book nonetheless.
December 22, 2020
Lihtsalt suurep?rane! Suurep?rane t?lge ja p?hjalikud kommentaarid Alari Allikult.
March 26, 2023
I'm in love with the yearning and wistful sadness and gorgeous iconography (autumn leaves, cherry blossoms, tear-drenched sleeves, tangled hair) in these brief and subtle poems, carefully arranged by the anthologist. And the translator's notes offer marvelous explanation of the technical aspects of composition: pillow words, pivot phrases, "elegant confusion," how words with multiple meanings reverberate through a poem. Also interesting historical context and translation considerations.
July 1, 2013
This anthology is a testimony of the universality of poetry. The collection spans six hundred years and was written by one hundred different poets from a wide range of professions… yet, there is a cohesion and unity to the anthology. The poems are arranged chronologically, from the first poem composed in the seventh century to the last poems composed during the thirteenth century. As a reader who is a product of Western civilization and who lives in the 21st century, I was nevertheless moved by the poems, which originate in an ancient and vastly different culture than mine.
The anthology is a collection of one hundred poems by one hundred Japanese poets; the compilation was made in the thirteenth century. That alone makes this collection of poems a fascinating read. The second reason that drew me to this collection is that the poems are very well known in Japan and many of the poems are memorized by the Japanese.
The poems capture a snapshot of time and emotion, covering chirping crickets, cold autumn winds, and snow covered mountains, to the despair of unrequited love, the anticipation of death, and the wistful reflections of old age. What I love about Japanese poetry in general is the sense of a “momentary glimpse of eternity” it conveys. There are moments in our lives when we stop to see the silver moon, or listen to the song of an oriel, or watch an autumn leaf tumble to the ground. During moments like these I feel like I am truly living in the present, not planning for the future of “what comes next” or “what needs to be done” or regretting would I should have done or what I did in the past. These moments are absolutely “present” and therefore fleeting. Yet in my heart there stirs a feeling of and a longing for eternity. In our present cacophonous culture of incessant distractions and diversions, these moments are increasingly rare. Japanese poetry, especially haiku, seems to affect this sense of the “beauty of the present” in me.
An example of a poem from the anthology
NB: The poems are very short, and although they are Japanese in origin, they are not haiku! They have been translated into English by a Japanese writer, and an attempt to convey English rhythm and rhyme is not entirely successful. I would have preferred a more literal translation.
The anthology is a collection of one hundred poems by one hundred Japanese poets; the compilation was made in the thirteenth century. That alone makes this collection of poems a fascinating read. The second reason that drew me to this collection is that the poems are very well known in Japan and many of the poems are memorized by the Japanese.
The poems capture a snapshot of time and emotion, covering chirping crickets, cold autumn winds, and snow covered mountains, to the despair of unrequited love, the anticipation of death, and the wistful reflections of old age. What I love about Japanese poetry in general is the sense of a “momentary glimpse of eternity” it conveys. There are moments in our lives when we stop to see the silver moon, or listen to the song of an oriel, or watch an autumn leaf tumble to the ground. During moments like these I feel like I am truly living in the present, not planning for the future of “what comes next” or “what needs to be done” or regretting would I should have done or what I did in the past. These moments are absolutely “present” and therefore fleeting. Yet in my heart there stirs a feeling of and a longing for eternity. In our present cacophonous culture of incessant distractions and diversions, these moments are increasingly rare. Japanese poetry, especially haiku, seems to affect this sense of the “beauty of the present” in me.
An example of a poem from the anthology
How cold the autumn wind and drearNow blowing down Mt. Yoshino,
And somewhere in the town I hearThe sound of beating linen go.Masatsune
NB: The poems are very short, and although they are Japanese in origin, they are not haiku! They have been translated into English by a Japanese writer, and an attempt to convey English rhythm and rhyme is not entirely successful. I would have preferred a more literal translation.
May 10, 2012
I won this book through 欧宝娱乐 and I must say I quite enjoy it.
Blue Flute’s One Hundred Leaves starts with a brief introduction to Japanese poetry and explains how this volume came to be. This introduction, though sparse, is informative and prepares you to better understand Japanese poetry. Next come the actual poems. Each one is presented first in English, then we get the Japanese Kanji and a transliteration. It is interesting to see where the poems came from and I find the characters beautiful as well. Lastly, there are literary notes that help with the interpretation of the poem. These literary notes come in very handy. They provide better understanding of the circumstances surrounding the poem really help in appreciating them.
Each poem has an accompanying piece of artwork that depicts its theme. They are wonderfully matched, some combinations seeming as though one was made for the other. Unfortunately, the artwork is also where we hit the first real drawback: the art is not named, the artist is not mentioned. The book is not in color, and I would like to look up full color versions. That’s made very hard, though, when I don’t have a name to search with. The fact that the book is in black and white in the first place is unfortunate, but I knew that it would be and I can forgive that.
As for the actual poetry, I can flip to any page and find an interesting poem. Some I contemplate more than others. There are those that I like instantly, and those that take a bit longer to appeal to me. Others never really leave much of an impression. There’s bound to be something for everyone though. Recommended for anyone interested in Japanese culture and fans of poetry in general.
Blue Flute’s One Hundred Leaves starts with a brief introduction to Japanese poetry and explains how this volume came to be. This introduction, though sparse, is informative and prepares you to better understand Japanese poetry. Next come the actual poems. Each one is presented first in English, then we get the Japanese Kanji and a transliteration. It is interesting to see where the poems came from and I find the characters beautiful as well. Lastly, there are literary notes that help with the interpretation of the poem. These literary notes come in very handy. They provide better understanding of the circumstances surrounding the poem really help in appreciating them.
Each poem has an accompanying piece of artwork that depicts its theme. They are wonderfully matched, some combinations seeming as though one was made for the other. Unfortunately, the artwork is also where we hit the first real drawback: the art is not named, the artist is not mentioned. The book is not in color, and I would like to look up full color versions. That’s made very hard, though, when I don’t have a name to search with. The fact that the book is in black and white in the first place is unfortunate, but I knew that it would be and I can forgive that.
As for the actual poetry, I can flip to any page and find an interesting poem. Some I contemplate more than others. There are those that I like instantly, and those that take a bit longer to appeal to me. Others never really leave much of an impression. There’s bound to be something for everyone though. Recommended for anyone interested in Japanese culture and fans of poetry in general.
January 14, 2025
A classical Japanese anthology of one hundred Japanese waka by one hundred poets, the most famous and standard version was compiled by Fujiwara no Teika.
Fujiwara, one of the greatest poets of his age and Japan’s most influential poetic theorist and critic until modern times, was the son and poetic heir of the gifted and influential Shunzei (or Toshinari, 1114–1204), compiler of the seventh Imperial anthology of Japanese poetry, Senzaishū (c. 1188; “Collection of a Thousand Years”). Teika hoped not only to consolidate Shunzei’s poetic gains and add to them in his own right but also to raise his family in political importance. He did not advance politically, however, until he was in his 50s.
As a literary figure, Teika was a supremely accomplished and original poet. His ideal of yōen (“ethereal beauty”) was a unique contribution to a poetic tradition that accepted innovation slowly. In his poems of ethereal beauty, Teika employed traditional language in startling new ways, showing that the prescriptive ideal of “old diction, new treatment” inherited from Shunzei might accommodate innovation and experimentation as well as ensure the preservation of the language and styles of the classical past.
In Japanese poetry, waka is specifically the court poetry of the 6th to the 14th century, including such forms as the chōka and sedōka, in contrast to such later forms as renga, haikai, and haiku. The term waka also is used, however, as a synonym for tanka (“short poem”), which is the basic form of Japanese poetry.
Fujiwara, one of the greatest poets of his age and Japan’s most influential poetic theorist and critic until modern times, was the son and poetic heir of the gifted and influential Shunzei (or Toshinari, 1114–1204), compiler of the seventh Imperial anthology of Japanese poetry, Senzaishū (c. 1188; “Collection of a Thousand Years”). Teika hoped not only to consolidate Shunzei’s poetic gains and add to them in his own right but also to raise his family in political importance. He did not advance politically, however, until he was in his 50s.
As a literary figure, Teika was a supremely accomplished and original poet. His ideal of yōen (“ethereal beauty”) was a unique contribution to a poetic tradition that accepted innovation slowly. In his poems of ethereal beauty, Teika employed traditional language in startling new ways, showing that the prescriptive ideal of “old diction, new treatment” inherited from Shunzei might accommodate innovation and experimentation as well as ensure the preservation of the language and styles of the classical past.
In Japanese poetry, waka is specifically the court poetry of the 6th to the 14th century, including such forms as the chōka and sedōka, in contrast to such later forms as renga, haikai, and haiku. The term waka also is used, however, as a synonym for tanka (“short poem”), which is the basic form of Japanese poetry.
April 12, 2018
Nice rendition for a novice reader of Japanese poetry. Educational about the history of the Hyakunin Isshu without being pretentious. Each page consists of a beautiful Japanese portrait on the left page and the text on the right page. The art is wonderfully enhanced, although the book would have been nicer in color.
The text on each right page was laid out in a diamond pattern. At the top was the title followed by the author's English translation. Centered-left was the original Japanese calligraphy and centered-right was the phonetic pronunciation of the Japanese. This was a particularly nice touch after reading about the poems' meter of 5/7/5/7/7, but not seeing that in the English. Saying it in Japanese added a layer of beauty I would have otherwise missed.
At the bottom was the notes pertaining to the translation, many times demonsrating how difficult literal translations can be, when a single symbol can have multiple meanings.
I was not happy with the interpretations of only some of the poems. The author offered interpretations of the first three poems, but then gave nothing for the fourth and fifth. Six through fifteen are explained, but seventeen is without explanation. There seemed to be no rhyme or reason to how the author chose which poems to interpret.
The text on each right page was laid out in a diamond pattern. At the top was the title followed by the author's English translation. Centered-left was the original Japanese calligraphy and centered-right was the phonetic pronunciation of the Japanese. This was a particularly nice touch after reading about the poems' meter of 5/7/5/7/7, but not seeing that in the English. Saying it in Japanese added a layer of beauty I would have otherwise missed.
At the bottom was the notes pertaining to the translation, many times demonsrating how difficult literal translations can be, when a single symbol can have multiple meanings.
I was not happy with the interpretations of only some of the poems. The author offered interpretations of the first three poems, but then gave nothing for the fourth and fifth. Six through fifteen are explained, but seventeen is without explanation. There seemed to be no rhyme or reason to how the author chose which poems to interpret.
November 13, 2019
I came to this book because of the anime Chihayafuru, which is about the card game Karuta which uses these poems. I'm absolutely obsessed with that show, and by the idea that a game about memorizing poetry has been played in Japan for centuries. It's amazing! The reason I didn't give this five stars is because I wanted to see the poems in Japanese and Romaji so I could recognize the Japanese I hear watching the anime, with their English translation, and be able to find it in the book. I'll have to pick up a couple more translations. The book itself is really beautiful. The forward and the commentary on each poem is thorough and understandable without being too academic to be interesting. The poems seem so simple, yet they have survived centuries in Japanese culture. They are simple, yet deeply moving. I've read through it, but this book will be beside my chair so I can read a poem each day. If you are interested in Japanese poetry you must watch the anime.
August 30, 2016
Seda raamatut lugedes tekki soov ja tahtmine, et Eesti luuletustest v?iks olla ka selline kogumik. V?imalik, et selline kogumik juba on olemas, aga on sellisel juhul minust m??da l?inud.
Antud raamatu puhul meeldis v?ga t?lkija eess?na, mis selgitas Jaapani luule olemust ning kuidas seda lugeda tuleks. Samuti on iga luuletuse juures lühike selgitus, mida luuletusega on tahetud ?elda. Selles v?tmes on Eesti luuletajate luuletused ikka pigem selged ja arusaadavad :) Selliseid kaksipidiseid v?i kaudselt ?eldut esineb v?hem. Samas see tegi luuletused just ka huvitavaks. Ja Eesti m?istel pole need luuletused klassikalised kohe kindlasti.
Stiilin?ide:
Ta on armunud,
levivad juba jutud -
kuigi see tunne
mu südames salaja
alles hiljuti t?rkas.
Antud raamatu puhul meeldis v?ga t?lkija eess?na, mis selgitas Jaapani luule olemust ning kuidas seda lugeda tuleks. Samuti on iga luuletuse juures lühike selgitus, mida luuletusega on tahetud ?elda. Selles v?tmes on Eesti luuletajate luuletused ikka pigem selged ja arusaadavad :) Selliseid kaksipidiseid v?i kaudselt ?eldut esineb v?hem. Samas see tegi luuletused just ka huvitavaks. Ja Eesti m?istel pole need luuletused klassikalised kohe kindlasti.
Stiilin?ide:
Ta on armunud,
levivad juba jutud -
kuigi see tunne
mu südames salaja
alles hiljuti t?rkas.
June 4, 2010
The translations are so far removed from the original that one wonders if the translator actually knew any Japanese. Go for one of the many, many other translations of the same texts out there, such as Joshua Mostow's heavily annotated _Pictures of the Heart_ from University of Hawaii Press instead.
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