DIARIES OF COURT LADIES OF OLD JAPAN
* 14 Illustrations
***
TRANSLATORS' NOTE
THE poems in the text, slight and occasional as they are, depending often for their charm on plays upon words of two meanings, or on the suggestions conveyed to the Japanese mind by a single word, have presented problems of great difficulty to the translators, not perfectly overcome.
Izumi Shikibu's Diary is written with extreme delicacy of treatment. English words and thought seem too downright a medium into which to render these evanescent, half-expressed sentences and poems–vague as the misty mountain scenery of her country, with no pronouns at all, and without verb inflections. The shy reserve of the lady's written record has induced the use of the third person as the best means of suggesting it.
Of the "Sarashina Diary" there exist a few manuscript copies, and three or four publications of the text. Some of them are confused and unreadably incoherent. The present translation was done by comparing all the texts accessible, and is especially founded on the connected text by Mr. Sakine, professor of the Girls' Higher Normal School, Tokio, published by Meiji Shoin, Itchome Nishiki-cho, Kanda-ku, Tokio. As far as possible the exact meaning has been adhered to, and the words chosen to express it have been kept absolutely simple, without complexity of thought, for such is the vocabulary in which it was written. Sometimes the diarist uses the present tense, sometimes the tense seems reminiscent. The words in square brackets have been inserted by the translators to complete the sense in English of sentences which literally rendered do not carry with them the suggestion of the Japanese text.
CONTENTS
Introduction By Amy Lowell
I. The Sarashina Diary
II. The Diary Of Murasaki Shikibu
III. The Diary Of Izumi Shikibu
Appendix
ILLUSTRATIONS
Court Lady's Full Dress In The Heian Period ... Frontispiece
It Was All In Flower And Yet No Tidings From Her
Kicho: Front And Back Views
A Nobleman's House And Grounds In The Azumaya Style
Three Kicho Put Together
Old Print Of A Nobleman's Dwelling In The Azumaya Style
Court Dress Of Military Official
Royal Dais And Kicho, Sudaré, Etc.
A Nobleman's Carriage
Screened Dais Prepared For Royalty
His Highness Came In A Humble Palanquin
The Lady Got Up And Saw The Misty Sky
Strangely Wet Are The Sleeves Of The Arm-Pillow
In The Daytime Courtiers Came To See Him
An excerpt from the beginning of the:
INTRODUCTION BY AMY LOWELL
THE Japanese have a convenient method of calling their historical periods by the names of the places which were the seats of government while they lasted. The first of these epochs of real importance is the Nara Period, which began A.D. 710 and endured until 794; all before that may be classed as archaic. Previous to the Nara Period, the Japanese had been a semi-nomadic race. As each successive Mikado came to the throne, he built himself a new palace, and founded a new capital; there had been more than sixty capitals before the Nara Period. Such shifting was not conducive to the development of literature and the arts, and it was not until a permanent government was established at Nara that these began to flourish. This is scarcely the place to trace the history of Japanese literature, but fully to understand these charming "Diaries of Court Ladies of Old Japan," it is necessary to know a little of the world they lived in, to be able to feel their atmosphere and recognize their allusions.
We know a good deal about Japan today, but the Japan with which we are familiar only slightly resembles that of the Diaries. Centuries of feudalism, of "Dark Ages," have come between. We must go behind all this and begin again. We have all heard of the "Forty-seven Ronins" and the No Drama, of Shoguns, Daimios, and Samurais, and many of us live in daily communion with Japanese prints. It gives us pause to reflect that the earliest of these things is almost as many centuries ahead of the Ladies as it is behind us. "Shogun" means simply "General," and of course there were always generals, but the power of the Shoguns, and the military feudalism of which the Daimios and their attendant Samurais were a part, did not really begin until the middle of the twelfth century and did not reach its full development until the middle of the fourteenth; the No Drama started with the ancient religious pantomimic dance, the Kagura, but not until words were added in the fourteenth century did it become the No; and block colour printing was first practiced in 1695, while such famous print artists as Utamaro, Hokusai, and Hiroshige are all products of the eighteenth or early nineteenth centuries. To find the Ladies behind the dark military ages, we must go back a long way, even to the century before their own.
1114082398
***
TRANSLATORS' NOTE
THE poems in the text, slight and occasional as they are, depending often for their charm on plays upon words of two meanings, or on the suggestions conveyed to the Japanese mind by a single word, have presented problems of great difficulty to the translators, not perfectly overcome.
Izumi Shikibu's Diary is written with extreme delicacy of treatment. English words and thought seem too downright a medium into which to render these evanescent, half-expressed sentences and poems–vague as the misty mountain scenery of her country, with no pronouns at all, and without verb inflections. The shy reserve of the lady's written record has induced the use of the third person as the best means of suggesting it.
Of the "Sarashina Diary" there exist a few manuscript copies, and three or four publications of the text. Some of them are confused and unreadably incoherent. The present translation was done by comparing all the texts accessible, and is especially founded on the connected text by Mr. Sakine, professor of the Girls' Higher Normal School, Tokio, published by Meiji Shoin, Itchome Nishiki-cho, Kanda-ku, Tokio. As far as possible the exact meaning has been adhered to, and the words chosen to express it have been kept absolutely simple, without complexity of thought, for such is the vocabulary in which it was written. Sometimes the diarist uses the present tense, sometimes the tense seems reminiscent. The words in square brackets have been inserted by the translators to complete the sense in English of sentences which literally rendered do not carry with them the suggestion of the Japanese text.
CONTENTS
Introduction By Amy Lowell
I. The Sarashina Diary
II. The Diary Of Murasaki Shikibu
III. The Diary Of Izumi Shikibu
Appendix
ILLUSTRATIONS
Court Lady's Full Dress In The Heian Period ... Frontispiece
It Was All In Flower And Yet No Tidings From Her
Kicho: Front And Back Views
A Nobleman's House And Grounds In The Azumaya Style
Three Kicho Put Together
Old Print Of A Nobleman's Dwelling In The Azumaya Style
Court Dress Of Military Official
Royal Dais And Kicho, Sudaré, Etc.
A Nobleman's Carriage
Screened Dais Prepared For Royalty
His Highness Came In A Humble Palanquin
The Lady Got Up And Saw The Misty Sky
Strangely Wet Are The Sleeves Of The Arm-Pillow
In The Daytime Courtiers Came To See Him
An excerpt from the beginning of the:
INTRODUCTION BY AMY LOWELL
THE Japanese have a convenient method of calling their historical periods by the names of the places which were the seats of government while they lasted. The first of these epochs of real importance is the Nara Period, which began A.D. 710 and endured until 794; all before that may be classed as archaic. Previous to the Nara Period, the Japanese had been a semi-nomadic race. As each successive Mikado came to the throne, he built himself a new palace, and founded a new capital; there had been more than sixty capitals before the Nara Period. Such shifting was not conducive to the development of literature and the arts, and it was not until a permanent government was established at Nara that these began to flourish. This is scarcely the place to trace the history of Japanese literature, but fully to understand these charming "Diaries of Court Ladies of Old Japan," it is necessary to know a little of the world they lived in, to be able to feel their atmosphere and recognize their allusions.
We know a good deal about Japan today, but the Japan with which we are familiar only slightly resembles that of the Diaries. Centuries of feudalism, of "Dark Ages," have come between. We must go behind all this and begin again. We have all heard of the "Forty-seven Ronins" and the No Drama, of Shoguns, Daimios, and Samurais, and many of us live in daily communion with Japanese prints. It gives us pause to reflect that the earliest of these things is almost as many centuries ahead of the Ladies as it is behind us. "Shogun" means simply "General," and of course there were always generals, but the power of the Shoguns, and the military feudalism of which the Daimios and their attendant Samurais were a part, did not really begin until the middle of the twelfth century and did not reach its full development until the middle of the fourteenth; the No Drama started with the ancient religious pantomimic dance, the Kagura, but not until words were added in the fourteenth century did it become the No; and block colour printing was first practiced in 1695, while such famous print artists as Utamaro, Hokusai, and Hiroshige are all products of the eighteenth or early nineteenth centuries. To find the Ladies behind the dark military ages, we must go back a long way, even to the century before their own.
DIARIES OF COURT LADIES OF OLD JAPAN
* 14 Illustrations
***
TRANSLATORS' NOTE
THE poems in the text, slight and occasional as they are, depending often for their charm on plays upon words of two meanings, or on the suggestions conveyed to the Japanese mind by a single word, have presented problems of great difficulty to the translators, not perfectly overcome.
Izumi Shikibu's Diary is written with extreme delicacy of treatment. English words and thought seem too downright a medium into which to render these evanescent, half-expressed sentences and poems–vague as the misty mountain scenery of her country, with no pronouns at all, and without verb inflections. The shy reserve of the lady's written record has induced the use of the third person as the best means of suggesting it.
Of the "Sarashina Diary" there exist a few manuscript copies, and three or four publications of the text. Some of them are confused and unreadably incoherent. The present translation was done by comparing all the texts accessible, and is especially founded on the connected text by Mr. Sakine, professor of the Girls' Higher Normal School, Tokio, published by Meiji Shoin, Itchome Nishiki-cho, Kanda-ku, Tokio. As far as possible the exact meaning has been adhered to, and the words chosen to express it have been kept absolutely simple, without complexity of thought, for such is the vocabulary in which it was written. Sometimes the diarist uses the present tense, sometimes the tense seems reminiscent. The words in square brackets have been inserted by the translators to complete the sense in English of sentences which literally rendered do not carry with them the suggestion of the Japanese text.
CONTENTS
Introduction By Amy Lowell
I. The Sarashina Diary
II. The Diary Of Murasaki Shikibu
III. The Diary Of Izumi Shikibu
Appendix
ILLUSTRATIONS
Court Lady's Full Dress In The Heian Period ... Frontispiece
It Was All In Flower And Yet No Tidings From Her
Kicho: Front And Back Views
A Nobleman's House And Grounds In The Azumaya Style
Three Kicho Put Together
Old Print Of A Nobleman's Dwelling In The Azumaya Style
Court Dress Of Military Official
Royal Dais And Kicho, Sudaré, Etc.
A Nobleman's Carriage
Screened Dais Prepared For Royalty
His Highness Came In A Humble Palanquin
The Lady Got Up And Saw The Misty Sky
Strangely Wet Are The Sleeves Of The Arm-Pillow
In The Daytime Courtiers Came To See Him
An excerpt from the beginning of the:
INTRODUCTION BY AMY LOWELL
THE Japanese have a convenient method of calling their historical periods by the names of the places which were the seats of government while they lasted. The first of these epochs of real importance is the Nara Period, which began A.D. 710 and endured until 794; all before that may be classed as archaic. Previous to the Nara Period, the Japanese had been a semi-nomadic race. As each successive Mikado came to the throne, he built himself a new palace, and founded a new capital; there had been more than sixty capitals before the Nara Period. Such shifting was not conducive to the development of literature and the arts, and it was not until a permanent government was established at Nara that these began to flourish. This is scarcely the place to trace the history of Japanese literature, but fully to understand these charming "Diaries of Court Ladies of Old Japan," it is necessary to know a little of the world they lived in, to be able to feel their atmosphere and recognize their allusions.
We know a good deal about Japan today, but the Japan with which we are familiar only slightly resembles that of the Diaries. Centuries of feudalism, of "Dark Ages," have come between. We must go behind all this and begin again. We have all heard of the "Forty-seven Ronins" and the No Drama, of Shoguns, Daimios, and Samurais, and many of us live in daily communion with Japanese prints. It gives us pause to reflect that the earliest of these things is almost as many centuries ahead of the Ladies as it is behind us. "Shogun" means simply "General," and of course there were always generals, but the power of the Shoguns, and the military feudalism of which the Daimios and their attendant Samurais were a part, did not really begin until the middle of the twelfth century and did not reach its full development until the middle of the fourteenth; the No Drama started with the ancient religious pantomimic dance, the Kagura, but not until words were added in the fourteenth century did it become the No; and block colour printing was first practiced in 1695, while such famous print artists as Utamaro, Hokusai, and Hiroshige are all products of the eighteenth or early nineteenth centuries. To find the Ladies behind the dark military ages, we must go back a long way, even to the century before their own.
***
TRANSLATORS' NOTE
THE poems in the text, slight and occasional as they are, depending often for their charm on plays upon words of two meanings, or on the suggestions conveyed to the Japanese mind by a single word, have presented problems of great difficulty to the translators, not perfectly overcome.
Izumi Shikibu's Diary is written with extreme delicacy of treatment. English words and thought seem too downright a medium into which to render these evanescent, half-expressed sentences and poems–vague as the misty mountain scenery of her country, with no pronouns at all, and without verb inflections. The shy reserve of the lady's written record has induced the use of the third person as the best means of suggesting it.
Of the "Sarashina Diary" there exist a few manuscript copies, and three or four publications of the text. Some of them are confused and unreadably incoherent. The present translation was done by comparing all the texts accessible, and is especially founded on the connected text by Mr. Sakine, professor of the Girls' Higher Normal School, Tokio, published by Meiji Shoin, Itchome Nishiki-cho, Kanda-ku, Tokio. As far as possible the exact meaning has been adhered to, and the words chosen to express it have been kept absolutely simple, without complexity of thought, for such is the vocabulary in which it was written. Sometimes the diarist uses the present tense, sometimes the tense seems reminiscent. The words in square brackets have been inserted by the translators to complete the sense in English of sentences which literally rendered do not carry with them the suggestion of the Japanese text.
CONTENTS
Introduction By Amy Lowell
I. The Sarashina Diary
II. The Diary Of Murasaki Shikibu
III. The Diary Of Izumi Shikibu
Appendix
ILLUSTRATIONS
Court Lady's Full Dress In The Heian Period ... Frontispiece
It Was All In Flower And Yet No Tidings From Her
Kicho: Front And Back Views
A Nobleman's House And Grounds In The Azumaya Style
Three Kicho Put Together
Old Print Of A Nobleman's Dwelling In The Azumaya Style
Court Dress Of Military Official
Royal Dais And Kicho, Sudaré, Etc.
A Nobleman's Carriage
Screened Dais Prepared For Royalty
His Highness Came In A Humble Palanquin
The Lady Got Up And Saw The Misty Sky
Strangely Wet Are The Sleeves Of The Arm-Pillow
In The Daytime Courtiers Came To See Him
An excerpt from the beginning of the:
INTRODUCTION BY AMY LOWELL
THE Japanese have a convenient method of calling their historical periods by the names of the places which were the seats of government while they lasted. The first of these epochs of real importance is the Nara Period, which began A.D. 710 and endured until 794; all before that may be classed as archaic. Previous to the Nara Period, the Japanese had been a semi-nomadic race. As each successive Mikado came to the throne, he built himself a new palace, and founded a new capital; there had been more than sixty capitals before the Nara Period. Such shifting was not conducive to the development of literature and the arts, and it was not until a permanent government was established at Nara that these began to flourish. This is scarcely the place to trace the history of Japanese literature, but fully to understand these charming "Diaries of Court Ladies of Old Japan," it is necessary to know a little of the world they lived in, to be able to feel their atmosphere and recognize their allusions.
We know a good deal about Japan today, but the Japan with which we are familiar only slightly resembles that of the Diaries. Centuries of feudalism, of "Dark Ages," have come between. We must go behind all this and begin again. We have all heard of the "Forty-seven Ronins" and the No Drama, of Shoguns, Daimios, and Samurais, and many of us live in daily communion with Japanese prints. It gives us pause to reflect that the earliest of these things is almost as many centuries ahead of the Ladies as it is behind us. "Shogun" means simply "General," and of course there were always generals, but the power of the Shoguns, and the military feudalism of which the Daimios and their attendant Samurais were a part, did not really begin until the middle of the twelfth century and did not reach its full development until the middle of the fourteenth; the No Drama started with the ancient religious pantomimic dance, the Kagura, but not until words were added in the fourteenth century did it become the No; and block colour printing was first practiced in 1695, while such famous print artists as Utamaro, Hokusai, and Hiroshige are all products of the eighteenth or early nineteenth centuries. To find the Ladies behind the dark military ages, we must go back a long way, even to the century before their own.
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DIARIES OF COURT LADIES OF OLD JAPAN
DIARIES OF COURT LADIES OF OLD JAPAN
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Product Details
| BN ID: | 2940016100692 |
|---|---|
| Publisher: | OGB |
| Publication date: | 01/08/2013 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| File size: | 2 MB |
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