A while ago, I was asked by a poetry group to do a short presentation on the Man’yoshu. This is a collection of poems from the 8th century. They are gorgeous poems, some startling erotic.
I have at least five different editions of the Man’yoshu, each giving a different translation and perspective on these poems. One of my favorite versions is “Love Songs from the Man’yoshu, Selections from a Japanese Classic”, with illustrations by Miyata Masayuki, Commentary by Ooka Makoto, Translations by Ian Hideo Levy and with an essay by Donald Keene. Published in Japan by Lodansha International.
This is an incredibly beautiful book. The cut-out illustrations by the great Miyata Masayuki, powerfully and exquisitely erotic, give a visual insight into the sexuality of these poems. I did not expect this when I held this beautiful book in my hand. The paper, the colors, the commentary, everything about this book is a delight.
There are many books about the Man’yoshu. However, an older one that (1965) is plainly called “The Manyoshu’ One Thousand Poems, published by Columbia University Press. The Foreword is by Donald Keene, the much decorated translator and interpreter of Japanese literature. This book is worth obtaining just for the writing of Keene.
“Ten Thousand Leaves, Love Poems from the Man’yoshu”
“Thick and fast stream my thoughts of you
Like the layers
Of endlessly falling snow
Upon the cedars.
Come to me at night, my man.”
—– from the Man’yoshu
It was the first golden age of Japanese civilization. In the eighth century appeared the great metropolis of Nara, (the imperial capital) its broad avenues lined with magnificent temples. Culture rushed in from Korea, China and over the Silk Road, from as far away as Persia, and even from Venice.
We think of Japan in isolation, as it was to become centuries later, but in the 7th to the 10th centuries (approximately) the cultural influences were vast and wide and foreign.
In the 8th century, Japan found it’s first voice, a clear and powerful voice to become one of the most impressive, sophisticated and frank compilations of poetry the world has ever seen. (There are other earlier and then later collections of poetry, but the Man’yoshu is considered to be the best of the poetry collections. There are many reasons (cultural and court changes, etc) but this is a long study and can’t be done in this short presentation.
There are not 10,000 poems (leaves) but over 4,500. Most of these are love poems, where lovers speak with disarming frankness and clarity, speak to us across 1300 years as if they were us. Actually, the poems express a decided lack of neurosis that we have come to view sex in the last few centuries. There is nothing of barriers when it comes to the human heart, longing, emotions and sexuality in these poems. Many of them are openly, expressly erotic.
The authors or contributors of these poems extended from Emperors, Empresses, courtesans, samurai, priests, beggars, fishermen, peasants: a cross section of remarkable variety. A truly democratic endeavor. This was never again to happen in Japan, not at least to this extent.
Otomo No Yakamochi (718-785) is considered to be the main complier of the Man’yoshu. These poems actually span a 130 year history, from around 630 AD to 759 AD.
There are three basic divisions of the poetry in the Man’yoshu.
Banka: elegy on the death of an Emperor or a loved one.
Somon: mutual exchanges of love or longing poetry.
Zoka: Poems of Nature, hunting, etc.
This short presentation will focus only on the Somon form.
Generally the Man’yoshu poetry is considered to be declarative rather than introspective, imagistic rather than abstract. There is an incredible freshness to it all.
There are basically two forms of poetry in the Man’yoshu: choka (long poem, 5-7-5-7-5-7, etc. ending in 7-7) and tanka. (5-7-5-7-7). The ‘long poem’, choka (which isn’t very long by our modern and Western standards) died out of fashion, and tanka became the predominant form of Japanese poetry for the next 1200 years.
Although one would think so, there isn’t a lot of Buddhist influence in the poems. If any religion, there is more Shinto influence especially in the Zoka form, but even that isn’t large. This may seem strange to us, with our notions of culture in Japan, but even centuries later, with the Priest-Poet Saigyo, there is little Buddhist thought within his poems. Religion just doesn’t play such a dominant role in most Japanese poetry, especially at this time.
“Going over the fields of murasaki grass
That shimmer crimson,
Going over the fields marked as imperial domain,
Will the guardian of the fields not see you
As you wave your sleeves at me?”
This poem is considered by many to be one of the greatest poems in the Man’yoshu. It is presented near the beginning of the collection, giving it prominence. The answer by her former husband (she is now married to the Emperor) Prince Oama, (his brother) is a beautiful poem in its own right.
“If I despised you, who are as beautiful
As the murasaki grass,
Would I be longing for you like this,
Though you are another man’s wife?”
“Do not let men find out
By smiling at me so apparently,
Like the clouds that clearly cross
Over the verdant mountains.”
—–Lady Otomo Sakanoue
There are more poems by this poet than any other woman in the Man’yoshu. What is remarkable are the amount of women poets included in the Man’yoshu. This is only possible because the Confucian philosophy was not prominent yet in Japan. When it became influential, women lost much status: before they were allowed to own property, title, name, divorce, to keep custody of their children. After, they were relegated to indoors, stripped of much power and status.
“Whose words are these,
Spoken to the wife of another?
Whose words are these,
That bade me untie
The sash of my robe?”
Many of the poems in the Man’yoshu were folk songs, or parts of folk songs. And this repeated interest in ‘the wife of another’ was an object of male desire; the Man’yoshu is full of this theme.
“As I turn my gaze upward
And see the crescent moon,
I am reminded
Of the trailing eyebrows
Of the woman I saw but once.”
This was written by Otomo at the age of 16!
“I have fallen into a yearning
With no requite,
For a girl who, when night comes
Sleeps pillowed in another’s arms.
“If men can touch
Even the untouchable sacred tree,
Why can I not touch you
Simply because you are another’s wife?”
To finish with some anonymous poems:
“The flowers of the plum,
Were covered with fallen snow
Which I wrapped up
But when I tried to have you see
It was melting in my hands.”
“This body of mine
Has crossed the mountain barrier
And is here indeed!
But this heart of mine remains
Drawing closer to my wife.”
“The moon crossed the sky
And I saw him only once
In its pale light
Yet, the person whom I saw
Does appear to me in dreams.”
“I shall not take a brush
To this hair that lies
Disheveled in the morning,
For it retains the touch
Of my dear lord’s arms that pillowed me.”
For 1200 years, the Man’yoshu has inspired poets to write their own poetry based on these poems. Below are a few of mine inspired with readings of this classical document. The Man’yoshu poetry can be startling frank and seem to avoid modern day sexual neurosis.
Come to me
If even only in my dreams
Where my head rests upon my arm
And not yours–
Let this veiled moon
Above and these dark, brooding pines below
Be witness to our love, my man.”
Come to me,
When the rocks have disappeared
Under sheets of snow,
The moon appears through tattered clouds.
I will be
Listening for the sound of
Your footfall in the dark.
Come to me, my man,
Part the blinds and come into my arms,
Snuggle against my warm breast
And let my belly
Warm your soul.
(aka Lady Nyo)
Tags: "Love Songs from the Man'yoshu", Choka, classical poetry avoiding sexual neurosis, Donald Keene, eroticism of Japanese poetry, Ian Hideo Levy, Jane Kohut-Bartels, Japanese poetry of the 8th century, Lady Nyo, Miyata Masayuki, Ooka Makoto, sexuality expressed within the poems of the Man'yoshu, tanka, the Man'yoshu