Mashiro no oto cap 11


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WATCH RELATED VIDEO: Shamisen Group Competition Mashiro No Oto

Kono Oto Tomare!

Search icon An illustration of a magnifying glass. User icon An illustration of a person's head and chest. Sign up Log in. Web icon An illustration of a computer application window Wayback Machine Texts icon An illustration of an open book.

Books Video icon An illustration of two cells of a film strip. Video Audio icon An illustration of an audio speaker. Audio Software icon An illustration of a 3. Software Images icon An illustration of two photographs. Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text ellipses. His versions, for all the singular devotion to scholarship they demonstrated, unfortunately were soon superseded by the work of the great generation of English Japanologists, notably that of Basil Hall Chamberlain Other discoveries have a broader applica- tion; the most important, probably, being that the Japanese language in the Manyoshu period had eight vowels instead of the present five, a fact of enormous linguistic significance though it does not affect the translations of the poems.

Not only has Japanese scholarship continued to ad- vance and refine previous knowledge of the Manyoshu , but Western scholarship, inspired in large part by Japanese achievements, has developed apace.

The most impressive critical study to appear in a Western language to date, Japanese Court Poetry by Robert Brower and Earl Miner Stanford University Press, , treats the Many'oshu in considerable detail and also gives a general background to the themes and methods of Japanese poetry. Translations continue to appear, some profiting by the new interpretations of the texts, others represent- ing little more than reworkings in somewhat more poetic language of existing versions.

Interpretations of the Manyoshu have inevitably re- flected the outlook of the modern critic almost as much as they conveyed the intent of the original poets Read- ing the Introduction to this edition of the Manyoshu, we cannot help but be struck by the repeated allusions to a philosophy of the Japanese state which, though normal in , has largely been discredited since.

The poetry of the Manyoshu is sufficiently varied and abundant to afford corroborative evidence for all these theses, but though each is tenable as an interpretation of part of the work, it cannot be accepted as a judgment of the whole. But although it is of urgent importance that the fruits of modern Japanese scholarship be introduced to Western readers, it clearly would be unfair to the translators of this edition to change arbitrarily the introduction which they deemed appropriate to their splendid translations It has seemed preferable, both out of respect for the book as originally conceived, and for the sake of the valuable information presented, to reproduce the Introduction unaltered.

The great merit of The Manyoshu, it goes without say- ing, is the excellence of the translations. Surely no one could read these versions of the great choka by Hitomaro or Okura and remain unmoved. They make superb poems in English, and are worthy of the originals. These include narratives e. These poems suggest possibilities of poetic development which either never materialized at all in Japan, or else were directed as in the case of the poems with prose prefaces into the domain of prose rather than poetry Another feature of the selection is the inclusion of various poems on the same themes by men of different times, those which echo the themes and language of Hitomaro e.

Its importance and excellence were widely recognized, but the difficulties of making arrangements with the various parties involved in the publication made it seem dubious that a reprinting would ever ap- pear.

Mr Kensuke Tamai of the Iwanami Publishing Company proved especially helpful during the long negotiations; indeed, without his efforts the present edition might have had to wait for another five years or more of tedious correspondence.

UNESCO sponsor- ship of the new edition also encouraged us to persevere despite repeated frustrations. Now that at last this fine translation of the greatest of Japanese anthologies has been included in the Records of Civilization series, it is hoped that The Manyoshu will be accorded by the read- ing public its rightful place of distinction among the poetic masterpieces of the world.

PREFACE The importance of rendering Japanese classics into foreign languages as a means of acquainting the world with the cultural and spiritual background of Japan can- not be over-emphasized. Few Japanese, however, have ventured into this field, the work so far having been largely undertaken by foreigners. It is in view of this re- grettable fact that the Japanese Classics Translation Com- mittee was appointed in by the Nippon Gakujutsu Shinkbkai, and the present English version of Manyo poems represents the first enterprise of the Committee.

The Manyoshii has long attracted the attention of foreign translators, and there exist several versions of its poems in English, French and German, which deserve high com- mendation. But the work is unwieldy material to deal with, abounding as it does in obscure and difficult pas- sages, and the collaboration of a number of scholars and specialists is required in order to produce an adequate and authoritative translation.

For this reason a Special Com- mittee, consisting of eminent authorities on the subject, was formed. The selection of the poems for translation was based upon : 1 their poetic excellence, 2 their role in revealing the Japanese national spirit and character, and 3 their cultural and historical significance.

The selected poems were first paraphrased by the Special Committee into plain Japanese, and the paraphrases drafted by each member were submitted to joint sessions of the two Committees for criticism and correction. It was with the help of these paraphrases that tentative translations were made. These were then revised by an eminent English poet, and sub- mitted to the Committees in full session for examination and final revision.

Altogether it has taken four years since the work of paraphrasing was begun until the Eng- lish version of the last poem was approved. It may be added that the preparation of the Romaji text entailed no small labour on the part of the Committees when investigating and deciding upon the various disputed readings.

The Committee desire to acknowledge the important contributions of Messrs. Haxon Ishii and Shigeyoshi Obata, who made the tentative translations, Mr.

Ralph Hodgson who revised them, and Dr. Sanki Ichikawa who supervised all matters relating to the English. Their thanks are due also to Assistant Professor Yoshimoto Endo, of the Kyoto Imperial University, and Assistant Professor Fumio Tada of the Tokyo Imperial University, the former in connection with the preparation of the Romaji text and the latter with the making of the maps.

The Anthology reflects Japanese life and civilization of the 7th and 8th centuries, and not only does it record the indigenous thoughts and beliefs, but also touches, even if only casually, upon Buddhism, Confucianism and Taoism imported from the continent. It embraces and harmonizes both patrician and plebeian elements, and reveals the brilliance of city life side by side with the charm of the country-side. It forms a happy contrast that many sov- ereigns and members of the imperial family are represented in the Anthology, together with a great number of excellent works by humble and nameless poets.

That no less than poems in the rude dialect of eastern Japan should be grouped together at two different places, is an unparalleled phenomenon in the ancient anthologies of the Orient. These provincial poems consist not only of occasional and extempore pieces, but of what appear to be the then cur- rent folk-songs, altered or recast in the course of transmis- sion from place to place ; and there may also well be a few by city poets who composed them in imitation of the rustic style.

It is to be noted that the strain of folk-song is also frequently encountered in the works, especially in the amatory verse, of some urban singers. It should be added that the Manjoshu boasts a number of women poets representing various strata of society from the highest to the humblest. Genuineness of thought and feeling pervades all the Manyo poems, with scarcely any trace of vanity or frivoli- ty.

The prevailing atmosphere is happy, bright and peace- ful. Frontier-guards departing for distant shores pledge their loyalty to the Throne and frankly record their per- sonal loves and the sorrows of separation, but never a murmur of grudge or resentment.

A sanguinary and martial spirit is conspicuous by its absence : not a single war-song is to be found in the whole collection, there being only one poem which contains a passage describing a battle. No matter what may be the alleged allegorical virtue of the Chinese poem, no one will fail to discover in the Japanese piece an artistic masterpiece, combining sincerity with dignity, and elegance with pastoral simplicity — a charming revelation of the close in- timacy and friendliness that characterized the relationship between sovereign and subject in ancient Japan.

It is scarcely necessary to say that the pervading spirit of the Manjoshu is the Japanese spirit of genuine simplicity and sincerity. The Manjoshu with its infinite variety and the intrinsic xiv value of its superb poetry occupies a foremost place in the history of Oriental literature.

In quality it stands inferior to none of the numerous Chinese collec- tions of verse. In quantity it can compare with the Greek Anthology , surpassing the latter in pure lyricism, and in its ardour and vigour of spirit, probably due to the fact that the Greek epigrams are the products of a decadent civiliza- tion, while the Manyo poems are the flower of a culture at its zenith.

Thus the importance of the Manyoshu in world literature cannot be gainsaid. The fact that the Manyoshu consists of 20 books has set a precedent for the majority of later imperial anthologies. In its manner of classification and arrangement also it has provided, to a certain extent, a model for later collections which followed the method used in some books of the Manyoshu.

In the number of its poems, however, the Manyoshu exceeds all the imperial anthologies of later periods. According to the Kokka Taikan 1st edition, 1 90 , the popular reprint of all the old anthologies, in which the poems are numbered in the order they appear in each original collection, the Manyoshu contains 4, poems. This figure can be reduced slightly if the dupli- cations and variants are subtracted, so that 4, is com- monly given as the actual number of the poems in the Manyoshu , while the poets whose names are either mention- ed or ascertainable, are about in all.

Compilation It is impossible to ascertain how and when the compilation of the Manyoshu was completed in the form in which it has xv been handed down to this day. It may, however, be safely said that the collection came into being some time during the late Nara Period — the latter half of the 8th century.

Of course the entire 20 books were not compiled system- atically, nor at the same time. Most likely a few of them were compiled early in the century, which served as a nucleus to which were added later — at least on two different occasions — the remaining books, while the entire collection was subjected to revision at frequent intervals before the Anthology assumed its present form.

That is to say, it required a rather complicated process extending over half a century to compile the Manydshu in 20 books as we now have it. There existed no definite principle of compilation.

The standard of selection varied according to individual com- pilers ; nor was the manner of classification and arrangement uniform. The great poet Yakamochi, of the illustrious clan of Otomo, is generally regarded as the last man who had a hand in the compilation of the entire collection.

Yakamochi, who was involved in various political incidents after reaching middle age, died in in adverse circum- stances, and his clan itself declined steadily down to the end of the 9th century. In the meantime, the vogue for Chinese prose and poetry took possession of court circles for over xoo years from the late Nara Period to the early Heian Period, during which Japanese poetry was more or less neglected.

It is probably owing to these circumstances that the Manydshu , still lacking the intended final touch, was handed down in an unfinished form. Of the sources of the Manydshu , historical works such as the Kojiki and the Nihonshoki are mentioned in the book itself.

In addition, collections of the works of individual poets, miscellaneous papers, memoirs and diaries were drawn upon, as well as poems preserved only through oral transmission. Evidence is scattered throughout the An- thology of the efforts of the compilers to gather material from books and fragmentary documents, and other available xvi sources, both public and private, old and new.

In some cases the compiler gives, together with a poem, its original source, reference matter, or even his personal opinion of the poem itself. Because the task of compilation was not completed, the Anthology contains here and there indica- tions of the process of selection and the traces of the conscientious labours of the compilers, which constitute a unique and interesting feature not found in the later anthologies.

Repetition of the same poems and inclusion of slightly varied versions in different parts of the book are also another characteristic quality of the Manjoshu. One of the most important source books is the R uiju- Karin Forest of Classified Verses , mentioned elsewhere, which was compiled by Yamanoe Okura — a pioneer of Manyo poetry as well as a profound student of Chinese literature. This book having long since been lost, nothing is known as to its form or the number of books into which it was divided, but from its title we may suppose the poems to have had some sort of classification.

There are reasons to conjecture that this anthology may have served as a model for at least the first two books of the Manjoshu. Another anthology on which the Manjoshu draws heavily is Kokashu Collection of Ancient Poems , which was in all likelihood an anthology of a general character. Besides these, the Manjoshu mentions four individual anthologies, known respectively as the Hitomaro, Kana- mura, Mushimaro and Sakimaro Collection, but it is im- possible to ascertain whether each was the collected work of the poet whose name it bears, or included poems by others ; or whether it was simply a collection of poems compiled by the poet.

As a general rule, an individual poem or a group of poems in the Manjoshu is preceded by the name of the author xvn and a preface, and is frequently followed by a note. In these prefaces and notes are given the occasion, the date and place of composition, the source book or the manner of transmission, or anecdotes or legends concerning the authors or the poems.

All the prefaces and notes and dates are written in Chinese. In some of the books the letters and introductions in Chinese prose, sometimes quite lengthy, which were sent together with the poems, are included. Even Chinese poems, though this is rare, find their way into these pages. The texts of the poems are transcribed in Chinese char- acters. The syllabaries called kana which came into being a century or so later, were still at an incipient stage in their development.

Accordingly, in writing Japanese poems, Chinese characters were borrowed for their phonetic values, or they were used ideographically in their original sense. Sometimes the first method was employed exclusively in copying a poem, but more often the two methods were used simultaneously.

Besides the above two methods, Chinese charac- ters were frequently used in playful and fantastic combi- nations like puzzles, to denote syllables or words. The problems arising from the difficulty of deciphering them in the last-mentioned instances, and more often from uncertainty as to the exact reading of the characters used ideographically, have been gradually solved in subsequent ages, but there remain certain words and passages of which the reading is still disputed among specialists.

In this connection it may be pointed out that while the Manydshu had necessarily to be clothed in a Chinese garb, so to speak, in the absence of any other system of writing, the very idea of making such a collection of poems was in all probability inspired by the examples imported from China, where the work of compiling anthologies had early xviii developed, and where in later ages it grew to be almost a na- tional industry of unparalleled magnitude.


Mashiro no Oto Episode 11 English Subbed at gogoanime

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Danshi Koukousei no Nichijou – 11

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Mashiro no Oto Episode 11 English SUB

mashiro no oto cap 11

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