Talk:Kakinomoto no Hitomaro

Not English enough
Wow, many parts of this article are simply, not English. Something should be done about this. --71.197.123.235 05:57, 16 September 2007 (UTC)


 * What are you really complaining about? The common use of Japanese terms? Or poor quality English prose? --Gwern (contribs) 18:09 16 September 2007 (GMT)

Translation of Japanese Page
I am in the process of incorporating historical and scholarly material from the Japanese version of this article. I have uploaded a direct translation of the article:

http://www.laits.utexas.edu/wiki/theory/pmwiki.php?n=Main.KakinomotoNoHitomaro

I will be slowly revising the English version in more coherent language to reflect additional historical information.

Thanks!

Material removed from "Works" section to make rewriting/expanding easier
Much of the following text is probably redundant following my rewrite and incorporation of almost all of the information that can be gleaned from several sources. If any of it is not redundant and can be sourced, it can be added back to the article. Hijiri 88 ( 聖やや ) 12:18, 28 October 2017 (UTC)

Hitomaro is famed for his long poems, such as "In the sea of ivy clothed Iwami", "The Bay of Tsunu", and "I loved her like the leaves." 19 of his chōka ("long poems") were included in the Man'yōshū and 75 or so tanka ("short poems") were likewise selected. Many of his poems were written on the topics of public occasions; such as his "Lament for Prince Takechi", written as part of the mourning ceremonies for Takechi. Other poems were written on occasions in his life when he was particularly moved: parting from his wife, mourning for his wife, or on seeing a corpse.

His style makes use of figures of speech such as makurakotoba, jokotoba, and ouin (押韻) or rhyme. Among his chōka, he makes use of complex and variant taiku (対句) or antithesis. In his tanka, Hitomaro makes use of nearly 140 makurakotoba, among which half are not seen in previous works, which attests to his originality.In addition, his poetry includes kotodama such as:


 * Shikishima no / Yamato no kuni ha / kototama no / tasukuru kuni zo / masakiku ari koso
 * (敷島の 大和の国は 言霊の 助くる国ぞ まさきくありこそ)
 * (Man'yōshū Vol. 13, 3254)

In his hymns and elegies, he uses expressions such "Should his highness be a god" (大君は　神にしませば), "Being a god, becoming to a god" (神ながら　神さびせすと), and "Prince of the sun, shining on high" (高照らす　日の皇子) to highly glorify the emperor as an ascendant divinity and express his deeds. While examples of such expressions of the emperor as an ascendant divinity do appear in ancient historical works and folk songs, they are featured so prominently in Hitomaro's works as to make him stand out among all other contemporary poets. Further, such expressions quickly declined in use after Hitomaro, as the national enforcement of ritsuryō regulations between Emperor Tenmu's reign and Jitō's court had encouraged him. In effect, such expressions can be seen as a product of the regulations of the time.

In regards to his love poetry, there are a number of extant chōka to women, and it was used to be thought by some, such as Mokichi Saitō, that he held numerous wives and mistresses. It is a more widely accepted interpretation today that Hitomaro is composing love stories rather than putting to verse his own experiences. Regardless if the contents are fact or fiction, Hitomaro placed emphasis on married life together, and the love poems capture his expressive nature.

The following waka makes use of both makurakotoba and jokotoba and is attributed to Hitomaro by Fujiwara no Teika. The source of this poem, however, is from a variant tradition of Man'yōshū Vol. 12, 2802, and was included as the third poem in the Ogura Hyakunin Isshu:


 * (Man'yōgana) 足日木乃　山鳥之尾乃　四垂尾之　長永夜乎　一鴨將宿


 * (Hiragana) あしびきの　山鳥の尾の　しだり尾の　ながながし夜を　ひとりかも寝む


 * Ashibiki no / yamadori no o no / shidari o no / naganagashi yo wo / hitori kamo nen

Some scholars debate that this poem was actually composed by Hitomaro, as it was preserved in the Shūi Wakashū.

Rough translation: When it becomes night, like the mountain birds that part and sleep in sad loneliness, what a long, long night I may sleep in sad loneliness.