Perhaps the woman has even been abandoned, making her vigil for his visit even more poignant. Using seasonal metaphors for autumn linked to the theme of “love forsaken” is a common device found in waka composition, but it is handled expertly in the following poem:
Love KKS
822. Komachi [Topic unknown]
|
||
akikaze
ni
|
Because I
trusted
|
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au tanomi
koso
|
someone
who grew tired of me,
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|
kanashikere
|
my life,
alas, must be
|
|
wa ga mi
munashiku
|
as empty
as a rice ear
|
|
narinu to
omoeba
|
blasted
by harsh autumn winds.
|
Autumn signifies the cooling of a relationship that mirrors
climatic conditions, or suggests a decline in physical health in categories
outside love, once again following seasonal associations of decline before the
onset of winter. Here the image of emptiness (munashiku) relates not only to
the ear of rice, but also to the hollow feeling within the person who has been
cast aside by her lover. Autumn is homophonous with aki (satiated or grow
tired), creating a verbal link with the theme of abandonment and the season of
decline. Although the double entendre is conventional, placed in the hands of a
gifted poet, it can be effective.
Autumn imagery can also be employed to suggest something more consonant with successful courtship as in the following example when passions still ran high:
Autumn imagery can also be employed to suggest something more consonant with successful courtship as in the following example when passions still ran high:
Love KKS
635. Komachi [Topic unknown]
|
||
aki no yo
no mo
|
Autumn
nights, it seems,
|
|
na nomi
narikeri
|
are long
by repute alone:
|
|
au to
ieba
|
scarcely
had we met
|
|
koto zo
to mo naku
|
when
morning’s first light appeared,
|
|
akenuru
mono o
|
leaving
everything unsaid.
|
This poem is perhaps the best example expressing harmony
between the sexes since neither the man nor the woman has tired of the other,
and the desired meeting does take place, inadequate though it may have been.
There is no one who can express regret at parting more poignantly than Komachi,
using clever turns of phrase to imply ironically that autumn nights (aki no yo
no mo) are long only in name (na nomi narikeri) to emphasize the truth in the
statement that time flies when you are in good company.
Ise, a near contemporary of Ono no Komachi, is another
female poet Tsurayuki must have admired for he included twenty-two compositions
by her in the Kokinshû. Her poetic style utilizes much of the same rhetorical
devices found in those by Komachi, as in the example below:
Love KKS
741. Ise [Topic unknown]
|
||
furusato
ni
|
Since
your heart is not
|
|
aranu
mono kara
|
an
abandoned capital
|
|
wa ga
tame ni
|
sinking
in ruin,
|
|
hito no
kokoro no
|
why
should your feeling for me
|
|
arete
miyuramu
|
seem to
wither away?
|
The next composition by Ise features the image of the moon,
linked to the theme of the lonely lady from Chinese poetry and, in the case of
Heian Japan, the woman who waits for a man to visit. Moon imagery often figures
in love poetry as in the poem below.
Love KKS
756. Ise [Topic unknown]
|
||
ai ni
aite
|
How
fitting it seems
|
|
mono omou
koro no
|
that
tears should dampen the face
|
|
wa ga
sode ni
|
even of
the moon,
|
|
yadoru
tsuki sae
|
whose
image visits my sleeve
|
|
nururu
kao naru
|
as I sit
lost in sad thought.
|
The moon (tsuki), both the source of water and yin, is
charged with wetting the woman’s sleeves, another conventional image that
frequently appears in both prose and poetry to suggest sadness. The charm of
this composition is that instead of the woman crying, it is the orb itself that
cries and wets the sleeves of the woman when it visits.
An anonymous composition with the lonely lady topic and
related image of the moon and autumn presents an interesting view of
similarities between seasonal and love poems.
Autumn
KKS 184. Anonymous [Topic unknown]
|
||
ko no ma
yori
|
To see
moonlight fall
|
|
morikuru
tsuki no
|
filtering
though the branches
|
|
kage
mireba
|
is to
awaken
|
|
kokorozukushi
no
|
to the
coming of autumn,
|
|
aki wa
kinkeri
|
the
saddest season of all.
|
Following a trail of tears, we find another related poem by
Komachi that displays not only double entendre (kakekotoba), but also
associated words (engo) centering on water.
Love KKS
782. Ono no Komachi [Topic unknown]
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ima wa
tote
|
Even your
pledges,
|
|
wa ga mi
shigure ni
|
leaves of
words, have lost their green
|
|
furinureba
|
now that
falling tears
|
|
koto no
ha sae ni
|
dim my
youth as drizzling rains
|
|
utsuroinikeri
|
transform
autumnal foliage.
|
If you want to read more of Komachi’s work then you may
visit the links below:
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