No. 85: “Even though I was thinking at night, my thoughts were already dawning, and I couldn’t escape from the darkness of the night.” (Toshie Hoshi)
Gap between bedroom door. It is essentially a path of hope for a loved one to visit. However, if there is no visitation, the situation will change completely, and the situation will turn into a hole of unfathomable despair. Ah, the boring night ends late. This is a typical Japanese poem about a ``waiting woman,'' and it is difficult to describe the delicate feelings of this woman without experiencing it firsthand.
However, the poet was actually a man, and moreover, he was a monk. As with Twenty-Ichiban's Sosei Hoshi, what makes Bozu's ``The Woman in Waiting'' so soothing is nothing but the strong delusional power that comes from being forbidden from experiencing real love.
``If I come now, I will wait for Nagatsuki's Ariake moon.'' (Sose Hoshi)
Now, regarding Toshie, his father was the 74th ``Minamoto Toshiyori'' and his grandfather was the 71st ``Minamoto no Tsunenobu'', and he came from a long-established poet family, the only one to have three generations in a row in Hyakunin Isshu. . However, while his father and grandfather were active in the court poetry circle, Toshie became a monk at a young age and established his own monk's quarters (Karin-en) in Shirakawa, making it the center of his activities. It seems to have been a revolutionary place for the exchange of songs at the time, with many underground poets such as monks and laymen, as well as court poets such as Fujiwara Seisuke, Minamoto no Yorimasa, and Yinfumonin Daisuke frequenting the area.
Toshie's style of poetry is generally described as ``yūgen,'' but it seems that it was at odds with the ``yūgen'' style of Toshinari, an important figure in the court poetry circle, perhaps due to the aforementioned difference in the environment in which he sang. Please take a look at an explanation of ``Mumyosho'' by Kamo Chomei, a student of poetry.
Sometimes Toshinari wrote it as a self-praise song.
“In the evening, the autumn wind in the fields soaks in the sound of quails, the village of Fukakusa.” (Fujiwara Toshinari)
When I raised this question, Toshie declared:
``That song is full of regret, and the lyrics of the poem are so deep in regret, and the songs that are as loud as this are, they just ignore the economic situation and just think of it as a quarrel.'' "Taruru is the one who should be gentle and kind. If you come up with a lot of words and express what should be the meaning of a song, it becomes extremely shallow."
Mumeisho (complicating Toshie Toshinari's excellent poems)
It's lame to have poems that say things like "try it on yourself"!
In his own hymn, he demonstrated his profound ideals.
``If the mountains of Miyoshino are cloudy and snowing, the village at the foot of the mountain will disappear.'' (Toshie)
How about. Honestly, I completely agree with Toshie. Let's put aside the word ``yūgen'' for now, but songs that convey a deep aesthetic aspect are generally highly symbolic, blending the sentiment with the landscape. And what has achieved this is the ``new old and modern'', and the beauty of the new old and modern is supposed to be ``extraordinary'' and ``subtle.''
It may have been Toshinari who led him to this, but as far as we look at the Mumeishō episode, we can see that Toshie had a deeper knowledge of the ``yūgen'' than other contemporary poets. . Toshie was furious, thinking that if she openly expressed her feelings by saying things like ``please try it,'' she would never reach a higher level of beauty.
If Toshie had not become a priest and had been active as a court poet... Toshinari's biggest rival would have been Toshie, not Seisuke, and the fate of the Mikosa family might have been in jeopardy.
(Written by Uchida Engaku, a poet)
Learn the basics of waka poetry and try reciting it!
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