Vesna's Reviews > 100 Poems from the Japanese
100 Poems from the Japanese
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I am such a wayward reader. A few coincidences in the last couple of days led me to this beautiful collection of Japanese medieval poetry, translated by an American poet Kenneth Rexroth. Enchanted by Winter in Sokcho that takes place in Korea, which we are currently discussing in a GR reading group, I watched again two of my favorite films by a great Japanese director with the similar, yet in medium different, poetic beauty, lyrical simplicity and melancholy. And then I came across a GR friend’s tempting review of this book, all of which promptly decided for me to take it off my shelf and read at once.
Not only did I enjoy my immersion into the meditative poems that are supreme in the Japanese literary tradition, but also learned more about their poetry that preceded haiku. Two anthologies were central in the medieval period with compiled poems from various hands over several centuries, mostly in the short form of tanka in 5 lines and its variant sedoka in 6 lines, ѲԲõ Shū (“Ten-Thousand-Leaves Collection�) from the 8th century and Kokin Shū (“Ancient and Modern Collection�) from two centuries later. Rexroth’s book offers a splendid sample of 100 poems from these massive collections.
It’s best for the poems to speak in their own voices, so here are a few:
Not only did I enjoy my immersion into the meditative poems that are supreme in the Japanese literary tradition, but also learned more about their poetry that preceded haiku. Two anthologies were central in the medieval period with compiled poems from various hands over several centuries, mostly in the short form of tanka in 5 lines and its variant sedoka in 6 lines, ѲԲõ Shū (“Ten-Thousand-Leaves Collection�) from the 8th century and Kokin Shū (“Ancient and Modern Collection�) from two centuries later. Rexroth’s book offers a splendid sample of 100 poems from these massive collections.
It’s best for the poems to speak in their own voices, so here are a few:
The mists rise overI also want to add a couple of tankas, translated more literally for study purposes but giving a good sense of the poets� thoughts, by Arthur Waley in his Japanese Poetry: The 'Uta'. Rexroth highlights this book in his bibliography; it can be borrowed on archive.org.
The still pools at Asuka.
Memory does not
Pass away so easily.
~Yamabe No Akahito (along with Hitomaro, Akahito was a principal poet from the ѲԲõ times, both canonized as kasei, “deified poets�)
In the Autumn mountains
The colored leaves are falling.
If I could hold them back,
I could still see her.
~Kakinomoto No Hitomaro (as in the case of Akihoto, only the approximate dates of their lives are known)
Your hair has turned white
While your heart stayed
Knotted against me.
I shall never
Loosen it now.
~this tanka by Hitomaro reminds me of the beautiful bond between the old couple in Ozu’s film Tokyo Story
Imperceptible
It withers in the world,
This flower-like human heart.
~Ono No Komachi (834-880), a poetess, also remembered for her “legendary beauty� and tragic late life
In the mountain village
The wind rustles the leaves.
Deep in the night, the deer
Cry out beyond the edge of dreams.
~Minamoto No Morotada, 12th century
This is not the moon,
Nor is this the spring,
Of other springs,
And I alone
Am still the same.
~Ariwara No Narihira, 9th century, several No plays are dedicated to this great poet, including Kakitsubata (“Water Iris� which I also grow in my garden, better known in the West as “Japanese Iris�) that attracted Ezra Pound to translate it
In the eternal
Light of the spring day
The flowers fall away
Like the unquiet heart.
~Ki No Tomonobi, early 10th century, he assisted his uncle Tsurayuki in compiling the Kokin anthology
I do not know
What they are thinking about
In my birthplace, but
I do know that
The flowers still smell the same.
~Ki No Tsurayuki (882-946), compiled Kokin Shū and other collections, also renown for calligraphy (this version is from Rexroth’s alternative translation in the notes)
My existence in the world has beenRexroth’s introduction is informative as are his brief biographies of each poet. The poems are presented in his English translation along with their original text in transliteration as well as Japanese characters. In Ken’s hilarious and spot-on words, “Lots of white space here for medicinal purposes.� :-)
(As transitory as) the reflection of the moon
Which lodges in water
Gathered in the palm of the hand
(About which one doubts) whether it is there or not.
~another tanka by Tsurayuki, annotated as “the poet’s death-poem�
When evening comes
I will leave the door open beforehand
and (then) wait
For him who said he would come
To meet me in my dreams.
~Ōtomo no Yakamochi (718-785), a likely compiler of the ѲԲõ anthology
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April 21, 2022
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August 22, 2022
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August 23, 2022
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I couldn't help it! And just now by chance discovered the sequel One Hundred More Poems from the Japanese while reading Waley's anthology on archive.org, more time to spend with this beautiful poetry.


Falling on the autumn mountainside:
stop, for awhile, the storm
your strewing makes, that I might glimpse
the place where my wife dwells
It's an alternative to the Kakinomoto No Hitomaro verse you have included in your review above from The
Man' yōshū. Translated by Ian Hideo Levy - it's in my copy of World Masterpieces - we were allocated the Man' yōshū and The Kokinshū.
Your lovely selection made me run straight to my book to re-read. I've also just used it because in the detective novel I've just read - I looked up the T'ang and Song dynasty poets that Inspector Chen likes to quote.
The translation variation is quite broad - as I know well.

And is this not the springtime,
the springtime of old?
Only this body of mine,
the same body as before...
Ariwara Narihiri
The translator is Helen Craig McCullough.
The Kokinshū is interesting in that the love poems offer a large selection of poems by different artists but they ate arranged to form a single narrative about the progression of a love affair.
I thought you might like to see some alternative translations.

I really relate to the one about existence being as transitory as moonlight on water.


You beautifully put into words how this poetry still speaks to us, Ulysse. Thank you so much!

Falling on the autumn mountainside:
stop, for awhile, the storm
your strewing makes, that I might glimpse
the place where my wife dwells
It's an alternative to the Kakinomoto No Hitomaro verse..."
Laura, thank you for both of the alternative translations. I am fascinated with the translating craft and love to compare different versions of the same text. As we know, poetry is the most elusive form to render in another language. Some poets, I think, have never been satisfactorily brought to their English-speaking readers either because of the vast linguistic differences or the poet’s idiosyncrasies in her/his own language. From what I gather in Waley’s book, the classic Japanese from this medieval period was simpler which made it apparently easier to render in an accessible and still poetic English, and I love both Rexroth’s and the alternative versions in your comments.

Alwynne, I’m so happy we share our admiration for both this poetry collection and Ozu films!

I really relate to the one about existence being as transitory as moonlight on water."
I kept returning to that poem, Fionnuala, and had to include it even though it was not in Rexroth’s collection. Glad you enjoyed the selections! I am in awe with the richness of ideas and images that were woven into the Japanese art of short poems and their poets have been magnificently doing it for ages.

Dear Ilse, I had a few other favorites by Komachi but had to restrain myself in selecting only one. There are quite a few women poets in this anthology and even more in his next one that I’ve just finished and will write up my review with more poetry selections later today or tomorrow. Thank you for stopping by and reading, and I hope you enjoy Ozu’s film.

The mists rise over
The still pools at Asuka.
Memory does not
Pass away so easily.
Such a lovely coincidence: I've just come across a passage on Japanese poetry in the novel I'm reading now: I had been browsing through the book on Japanese poetry and was becoming quite familiar with the haiku, the subtle nuances, the necessity of hinting at things rather than spelling them out, the writer’s trust in the reader to be able to read between the lines. ( Touch by Olaf Olafsson). Further on, writing haikus is compared to kneading a little ball and letting it rise in the reader's mind. 😀 That is exactly the effect the outstanding poems you selected have on me.

Ah! I love these coincidences that connect us to different books, dear Jola. Thank you for sharing the quote and for your, as ever, generous words. You will find it hard to believe, but in his introduction Rexroth admits his dislike of haiku (my thoughts at that moment: “What??�) and it shows in his subpar translation of a few haiku poems at the end, probably included under pressure. All the same, as much as we (and the character in the novel you read :-)) might disagree with him about the values of haiku poetry, I am thankful that his return to the older tanka form gave us the opportunity to relish in this beautiful poetic heritage.


It’s great that you are teaching your students to learn poetry by writing it, dear Jola. My way to haiku was during my infatuation with Zen Buddhism, I think it started when I was around 18 or so, coming across Blyth’s works on both Zen and haiku. I think the context of Japanese culture helps relate to it, but there are many universal aspects to it and I am not surprised your students recognized it once you invited them to write the poems. And I am sure your admirable knowledge and passion for literature must have piqued their interest as well!


That will be fun, dear Jola. If I were a 10-year old kid like your students I would LOVE to be in your class! My high-school professor in literature had a huge influence on me, after all these years still thinking of him fondly.
In case you are interested, I've just posted more poems and a tidbit about two amazing women poets from different centuries in my review of Rexroth's sequel.
