The Hundred Poets, Part I
(Hyaku-nin isshu, 百人一首内)
Publisher: Ebi-Ne
c. 1840-1842
Hyaku-nin isshu is an
anthology of 100 poems by 100 different poets compiled by the
thirteenth-century critic and poet Fujiwara no Sadaie
(also known as Teika). The poems are all five-line poems of 31
syllables arranged as 5, 7, 5, 7 and 7.
This form was known as waka and is now known as tanka. The 100 poets are in approximately
chronological order from the seventh through the thirteenth centuries. The number associated with each poet appears
in the margin of most of the prints, with a few incorrectly numbered. Some of the prints portray the poets, and
some show scenes associated with their lives or poetry. The poem and some descriptive text appear on
each print. Robinson described 58 prints
in this series, and it is unlikely that any more exist. The poems were
translated by Clay MacCauley in his book ‘Single
Songs of a Hundred Poets’ (1917, Kelly and Walsh,
|
|
Number: 1 Poet: Emperor
Tenchi Tennô Scene:
Peasants harvesting grain in the foreground with a palace overlooking the sea
in the distance Robinson:
S19.1 The poem translates: Coarse the rush-mat roof Sheltering the harvest-hut Of the autumn rice-field; And my sleeves are growing wet With the moisture dripping through. |
|
|
This print superficially
resembles the above print. However, it
is lacking Kuniyoshi’s signature, his personal red seal (below his signature),
the publisher’s square seal below that, and the carver’s signature-seal
(below and just to the right of the publisher’s seal). A careful comparison of corresponding parts
of the two prints will reveal slight differences. This print was copied from the above using
newly carved woodblocks. No matter how
skilled the carver, it is never possible to perfectly duplicate the original. |
|
|
Number: 2 Poet:
Empress Jitô Tennô (持統天皇) Scene:
Empress Jitô Tennô at a
palace door looking out at the wooded mountains of Kaguyama Robinson:
S19.2 The poem translates: The spring has passed And the summer come again; For the silk-white robes, So they say, are spread to dry On the "Mount of Heaven’s
Perfume." |
|
|
Number: 3 Poet: Kakinomoto no Hitomaro Scene: The
aged poet holding his brush and watching a pheasant with writing materials
before him Robinson:
S19.3 The poem translates: Oh, the foot-drawn trail Of the mountain-pheasant’s tail Drooped like down-curved branch! Through this long, long-dragging night Must I lie in bed alone? |
|
|
This is another version of
the above print. It is a less labor
intensive printing than the above, which almost invariably means a later
edition. In this print, the shading (bokashi) in the
distant water and on the planks of the walkway was omitted. Bokashi was achieved by hand-applying a gradation of ink
to the wooden printing block rather than inking the block uniformly. This hand-application had to be repeated
for each sheet of paper that was printed.
However, a careful comparison of some fine detail, such as the script
or the marsh grass, demonstrates that they are identical, proving that both
prints were printed from the same woodblocks. |
|
|
Number: 4 Poet: Yamabe no Akahito Scene: Yamabe no Akahito with a page
on a hill overlooking the Bay of Tago with Mt. Fuji
in the distance Robinson:
S19.4 The poem translates: When I take the path To Tago’s coast,
I see Perfect whiteness laid On Mount Fuji’s lofty peak By the drift of falling snow. |
|
|
This is another unsigned
copy printed with newly carved woodblocks. |
|
|
Number: 5 Poet: Sarumaru-dayû Scene: A
peasant woman with two children looking over a river and rice paddies at a hill
on which are deer and autumn maple trees Robinson:
S19.5 The poem translates: In the mountain depths, Treading through the crimson leaves, The wandering stag calls. When I hear the lonely cry, Sad–how sad!–the autumn is. |
|
|
Number: 6 Poet: Chûnagon Yakamochi (中納言家持) also known as Otomo no Yakamochi Scene: Ori-hime, the weaving princess, and her husband mounted
on an ox among clouds and stars Robinson:
S19.6 The poem translates: If I see that bridge That is spanned by flights of magpies Across the arc of heaven Made white with a deep-laid frost, Then the night is almost past. |
|
|
Number: 7 Poet:
Abe-no Nakamaro (安倍仲麿) Scene:
Abe-no Nakamaro in China on a moonlight balcony
overlooking the sea with a Chinese official and two pages Robinson:
S19.7 The poem translates: When I look up at The wide-stretched plain of heaven, Is the moon the same That rose on In the land of Kasuga? |
|
|
This is another version of
the above print. It is a less labor
intensive printing than the above, which almost invariably means a later
edition. In this print, the shading (bokashi) above
the horizon and on the distant mountains has been eliminated. Bokashi was achieved by hand-applying a gradation of ink
to the wooden printing block rather than inking the block uniformly. This hand-application had to be repeated
for each sheet of paper that was printed.
The woodblock used to print shadows in the foreground has also been
eliminated. |
|
|
Number: 8 Poet:
Kisen-hôshi (The Monk Kisen) Scene:
Kisen-hôshi seated in a hut overlooking a lake an a
mountain with a servant sweeping-up fallen leaves Robinson:
S19.8 The poem translates: My lowly hut is Southeast from the capital. Thus I choose to live. And the world in which I live Men have named a "Mount of
Gloom." |
|
|
Number: 9 Poet: Ono
no Komachi Scene: Ono
no Komachi seated at a writing table watching
falling cherry blossoms in the wind Robinson:
S19.9 The poem translates: Color of the flower Has already faded away, While in idle thoughts My life passes vainly by, As I watch the long rains fall. |
|
|
This is another copy
printed with newly carved woodblocks.
It lacks both Kuniyoshi’s signature and the publisher’s seal in the
right lower corner. |
|
|
Number: 10 Poet: Semimaru (蝉丸) Scene: The
blind Semimaru at the window of his hut listening
to travelers on the road outside Robinson:
S19.10 The poem translates: Truly, this is where Travelers who go or come Over parting ways– Friends or strangers–all must meet: The gate of "Meeting Hill." |
|
|
Number: 11 Poet:
Sangi Takamura (参議篁) also known as Ono no Takamura Scene:
Stern view of a large junk with a rowboat in the foreground Robinson:
S19.11 The poem translates: Over the wide sea Towards its many distant isles My ship sets sail. Will the fishing boats thronged here Proclaim my journey to the world? |
|
|
This is another version of
the above print. It is a less labor
intensive printing than the above, which almost invariably means a later
edition. The shading (bokashi)
between the near and far water was omitted.
Bokashi
was achieved by hand-applying a gradation of ink to the wooden printing block
rather than inking the block uniformly.
This hand-application had to be repeated for each sheet of paper that
was printed. However, a careful
comparison of some fine detail, such as the script, demonstrates that they
are identical, proving that both prints were printed from the same
woodblocks. |
|
|
Number: 12 Poet: Sôjô Henjô (The Monk Henjô) Scene: A Bugaku
performance before an audience of noblemen and the poet with a large drum in
the foreground Robinson: S19.12 The poem translates: Let the winds of heaven Blow through the paths among the clouds And close their gates. Then for a while I could detain These messengers in maiden form. |
|
|
Number: 13 Poet:
Emperor Yôzei-in (陽成院) Scene: Two
travelers viewing the Mina Waterfall pointed out to them by two peasants Robinson:
S19.13 The poem translates: From Tsukuba’s peak Falling waters have become Mina’s still, full flow: So my love has grown to be Like the river’s quiet deeps. |
|
|
This is another version of
the above print. A careful comparison
of some detail, such as the script, will demonstrate that they are identical
proving that they were printed from the same woodblocks. |
|
|
This is another unsigned copy
printed with newly carved woodblocks. |
|
|
Number: 14 Poet: Kawara no Sadaijin (Minamoto no Toru) Scene: Kawara no Sadaijin with a court
page and an attendant examining roles of Michinoku flower-printed cloth Robinson:
S19.14 The poem translates: Like Michinoku prints Of the tangled leaves of ferns, It is because of you That I have become confused; But my love for you remains. |
|
|
This is another unsigned
copy printed with newly carved woodblocks. |
|
|
Number: 15 Poet: Emperor
Kôkô Tennô (光孝天皇) Scene:
Emperor Kôkô Tennô
walking in the snow with four attendants, one of whom is holding an umbrella Robinson:
S19.15 The poem translates: It is for your sake That I walk the fields in spring, Gathering green herbs, While my garment’s hanging sleeves Are speckled with falling snow. |
|
|
This is another state of
the above print in which green was replaced with a dark blue. |
|
|
Number: 16 Poet: Chûnagon Yukihira (中納言行平) also known as Ariwara no
Yukihira Scene: Chûnagon Yukihira with
his page looking across a valley towards Mount Inaba,
as does a woodcutter with his boy Robinson:
S19.16 The poem translates: Though we are parted, If on Mount Inaba’s
peak I should hear the sound Of the pine trees growing there, I’ll come back again to you. |
|
|
Number: 17 Poet: Ariwara no Narihira Ason (在原業平朝臣) Scene: Ariwara no Narihira Ason with a page and an attendant on the banks of the
Tatsuta River watching floating autumn maple leaves Robinson: S19.17 The poem translates: Even when the gods Held sway in the ancient days, I have never heard That water gleamed with autumn red As it does in Tatta’s
stream NOTE: This
print is generally considered the masterpiece of the series and one of
Kuniyoshi’s greatest works. |
|
|
Number: 18 Poet:
Fujiwara no Toshiyuki Ason (藤原敏行朝臣) Scene:
Fujiwara no Toshiyuki Ason with a page and an
attendant viewing the drum-bridge of Sumiyoshi Temple among pine trees above
a band of mist Robinson:
S19.18 The poem translates: The waves are gathered On the shore of Sumi
Bay, And in the gathered night, When in dreams I go to you, I hide from people’s eyes. |
‘Robinson’ refers to listing in Kuniyoshi: The Warrior-Prints by Basil William Robinson (Cornell University Press, Ithaca, NY, 1982) and its privately published supplement.
