Session 03—Introductory lectures
Topics for this session
Introductory lectures: Second of three
Delved into facets of poem form and listed out the main poetic techniques.
After commented again on the importance of placement within a poetry collection as an editorial comment on which direction to go towards understanding a poem, noted qualities that can relate a poem to the one that comes before of after it, and that this way of thinking can be more or less applied to components within poems, particularly the top (上の句) and the bottom （下の句）. The original list was drawn from Ueda's article in Principles of Classical Japanese Literature and titled "The Taxonomy of Sequence". The definitions below are from 日本語大辞典, as accessed via JapanKnowledge. I also advised that the distinctions are subtle, open for discussion, and that it is better to understand the overall principles than try to find exact distinctions among them, at least for us:
- 匂 (にほい、fragrance)：
和歌・俳諧で、余韻、余情。特に、蕉風俳諧で、前句にただよっている余情と、それを感じとって付けた付け句の間にかもし出される情趣。→匂付け。
- 響 (ひびき、reverberation)：
俳諧の連句で、前の句に付ける時の技巧の一つ。前の句の感情の動きを受けて、そのまま次の句に表わし出すこと。「匂（におい）」「移り」とともに、特に芭蕉連句において、基本的な付け合いの手法とされた。
- 移 (うつり、reflection)：
言葉、音調、リズムなどが、変化しながら続いていく時の、続き具合。特に、蕉風俳諧で、連句の付け方の一つ。前句の情趣が後句へひきつがれていったり、また、対照呼応したりすること。
- 面影・俤 (おもかげ、semblance) 面影付：
歌などで、余情として浮かんでくる姿、情景。
Discussed rhythm: 五七調（ごしちちょう） and 七五調（しちごちょう）.
五七調 is associated with the 万葉集（まんようしゅう） and is therefore the "older" feeling structure and occus when a 短歌 breaks after the 2nd or 4th line or both. It gives a blocky-er, stronger sense to a poem, sometimes.
EAMPLE ONE FOR THIS CLASS: Read aloud an English translation of MYS III.318, Akahito's poem about Mt. Fuji, the first such poem in Japan. (Included this link to a picture of Tago Bay and Mt. Fuji http://ja.wikipedia.org/wiki/田子の浦) Then covered in class the 反歌（かんか） that follows it (included this link, which has the poem, a modern Japanese translation of it, and an audio clip of it being recited aloud http://www.kangin.or.jp/what_kanshi/shiika_D1_2.html):
田子の浦ゆ 打ち出でて見れば 真白にぞ
たごのうらゆ うちいでてみれば ましろにぞ
富士の髙嶺に 雪は降りける
ふじのたかねに ゆきはふりける七五調 is associated with the 古今集 and later collections and occurs when a 短歌 breaks after the 1st or 3rd line or both. It has a smoother, more polished, more elegant feel to it.
Besides these two 調, discussed 句切れ（くぎれ） and 切れ字（きれじ） in haiku using this famous example by 芭蕉（ばしょう）- EXAMPLE TWO FOR THIS CLASS: 古池や蛙飛びこむ水の音. The 切れ字 is ＜や＞. We discussed how the "poetic moment" is usually finding the poetic link from one "side" of this 句切れ to the other.
Noted these basic poetic techniques:
みやび
枕詞、まくらことば and 序詞、じょことば
掛詞、かけことば
EXAMPLE THREE FOR THIS CLASS:
KKS 617 (early in third book of love)
Toshiyuki. Composed and sent to a lady in Narihira's houseUnable to meet you, I am lost in lonely thought, my sleeves drenched with tears abundant as the waters
of a rain-swollen river.Pointlessly long-rain increase tears river sleeve only damp no way to meet
つれづれの長雨 にまさる涙 川 袖 のみ濡れて逢ふよしもなし
つれつれのなかめにまさるなみたかはそてのみぬれてあふよしもなし
長雨 川
つれつれのなかめにまさる かは
眺 涙 袖 濡 逢
つれつれのなかめにまさるなみた そてのみぬれてあふよしもなしAlso, link to some very common 掛詞：
http://www.gorogo.com/topics/koten/q/kakekotoba.html縁語、えんご
掛詞、かけことば
本歌取り、ほんかどり
季語、きご (including reference to 歳時記事典、さいじきじてん) and 切れ字、きれじ, both in the context of haiku