Hello dear readers,
Fall is approaching, and it reminds us of fall leaves, and famous poems of the Hyakunin Isshu such as the chihaya poem (poem 17) among others….
Throughout the blog, I’ve tended to focus on the lady authors and poets because it’s so rare to see women get credit for writing in the pre-modern era. There was an explosion of feminine talent in the Heian Period (8th – 12th century) that was not repeated until modern era in Japan, and it’s been fascinating.
However today, I wanted to highlight one particular text called the Ise Monogatari (伊勢物語). Our illustrious Dr. Joshua Mostow who has contributed much to this blog translates the title as the “Ise Stories” in his translation, but other translations call it the Tales of Ise. You can decide which one you prefer. Since Dr Mostow is a cool guy, and done much for the field, I will use his translated title. For this post, I am using the translation by Dr Mostow and Dr Royall Tyler.
Unfortunately, we still don’t know who the actual author of the Ise Stories was. In fact, Professor Mostow explains that the prevailing theory is that the Tales was composed over decades, in stages, possibly by different authors. Unlike the later Tales of Genji, or the Gossamer Years, or the Pillow Book, which were all clearly composed by one author, the Tales of Ise has a murkier development.
Anyhow, the Ise Stories is not a modern story, with narrative arc, nor does it have an ending. Instead, the Ise Stories are a series of short anecdotes about an anonymous prince who leaves the capitol of Heian (modern day Kyoto), and journeys east to the hinterlands for a time. In fact, you could probably call the Ise Stories the “Anecdotes of Ise With Lots of Poetry Thrown In”. The later work, the Tales of Genji, has a similar format.
The hero of the story, a young, charming prince who travels east with his entourage and has a few love trysts along the way, is a kind of idealized Heian-period aristocrat: a gentleman with an excellent pedigree, and talent for poetry to boot. Each story includes at least one waka poem, the same kind used in the Hyakunin Isshu, often more. Why so much poetry? Many times these were used as a back-and-forth way of greeting someone from afar, or saying “hello” to a promising lady, so a chapter might have multiple poems in the form of dialogue.
For example, section 14 deals with a tryst between our protagonist and a provincial lady in remote Michinoku province (a place also mentioned in poem 14 of the Hyakunin Isshu). She writes to him the following poem:1
| Original text | Japanese romanization | Translation |
|---|---|---|
| なかなかに | Naka-naka ni | So if, after all, |
| 恋に死なずは | Koi ni shizanu wa | I am not to die of love, |
| 桑子にぞ | Kuhako ni zo | I know just the thing; |
| なるべかりける | Narubekarikeru | I should have been a silkworm, |
| 玉の緒ばかり | Tama no wo bakari | for that little life’s short span. |
Our protagonist was not impressed by her, as her poem “reeked of the country[side]”, but slept with her anyway. Classy guy.
Then, he left before dawn and she lamented:
| Original text | Japanese romanization | Translation |
|---|---|---|
| 夜も明けば | Yo mo akeba | Come dawn’s early light |
| きつにはめなで | Kitsu ni hamenade | oh yes, in the tank you go, |
| くたかけの | Kutakake no | you obnoxious bird, |
| まだきに鳴きて | Madaki ni nakite | to learn to cock-a-doodle |
| せなをやりつる | Sena wo yaritsuru | my darling away too soon. |
The protagonist then remarked he was going to the capitol, but left behind a “charming” poem:
| Original text | Japanese romanization | Translation |
|---|---|---|
| 栗原の | Kurihara no | If the Aneha |
| あねはの松の | Aneha no matsu no | Pine here at Kurihara |
| 人ならば | Hito naraba | only were human |
| 都のつとに | Miyako no tsuto ni | “Come along with me,” I’d say, |
| いざといはましを | Iza to iwamashi wo | “you’re my gift to the City.” |
According to the Ise Stories, she was much impressed and thought he was in love with her, but the commentaries suggest he was being condescending by implying that “if only she were worthy of Courtly life at the capitol”. Damn.
But what’s the source for all this poetry and narrative?
The origins of the Ise Stories is somewhat of a mystery, but there is strong evidence that the central character was heavily based upon a real aristocrat named Ariwara no Narihira (825 – 880), the same man who composed the aforementioned poem 17 (ちはやふる), and also composed what’s considered the greatest poem about cherry blossoms ever composed. Some of his poems in the old Kokin Wakashu imperial anthology were re-used in the Ise Stories as well.
In addition to his poetic genius, the real life Narihira was a playboy and had many relationships, even by the standards of Heian-period aristocracy. Sometimes this got him into trouble. The Ise Stories begins with an explanation that the anonymous prince left the capitol after having an affair with Emperor Seiwa’s consort. Coincidence? I think not. 🤔
Nonetheless, the Ise Stories is a whimsical and irreverent look at Heian Period culture and how the aristocracy interacted with people in the provinces, even when it was somewhat condescending. Court culture was unlike anything else in Japan at the time, and this reveals some interesting things that are not always conveyed in other works of the time.
1 Mostow and Tyler explain that the young woman’s poem was a re-working of an older poem from the Manyoshu, poem 3086:
| Original Manyogana | Modern Japanese | Japanese romanization | Translation |
|---|---|---|---|
| 中々二 | なかなかに | Naka naka ni | Not this lukewarm |
| 人跡不在者 | 人とあらずは | Hito to arazu wa | life that we humans live– |
| 桑子尓毛 | 桑子にも | Kuhako ni mo | a silkworm |
| 成益物乎 | ならましものを | Naramashi mono wo | I would rather be, |
| 玉之緒許 | 玉の緒ばかり | Tama no wo bakari | however short its life. |
The Hyakunin Isshu 
