Let’s step into a realm of poetic brilliance. Together we’ll embark on a journey through the exquisite world of Hyakunin Isshu (百人一首), a collection of one hundred masterful poems from classical Japan. The most famous and standard version was compiled by Fujiwara no Teika (1162–1241) while he lived in the Ogura district of Kyoto.[1] It is therefore also known as Ogura Hyakunin Isshu (小倉百人一首). I think it’s time we challenge ourselves as readers and culturally sensitive translators to reignite these poems some thousand-odd years later.

Allow me to be your guide, a translator and cultural consultant, as we explore the profound depth and cultural nuances hidden within these verses.

Reading Classical Japanese poetry is like delving into a treasure trove of emotions and wisdom that transcends time. It is an art that requires not only linguistic prowess but also a deep understanding of the historical and cultural context from which these verses emerged. As a translator, I have had the privilege of unraveling the beauty and intricacy of these poems and presenting them in a new light for a global audience.

One anecdote that stands out in my journey is the awe-inspiring moment when I first encountered the elegance of the tanka form, a traditional five-line poem. As I immersed myself in the delicate syllables and vivid imagery, I realized that each line holds a universe of emotions and captures the essence of fleeting moments. It was a humbling experience that taught me the importance of cultural respect and the need to preserve the authenticity of these poetic gems.

The significance of Hyakunin Isshu extends far beyond its literary value. These timeless verses have been celebrated and utilized in various ways throughout Japanese history. From traditional card games like Karuta to inspiring works of art and even musical compositions, the impact of these poems on Japanese culture cannot be understated.

As a translator, my mission has been to bridge the gap between languages and cultures, allowing the beauty of Hyakunin Isshu to resonate with a wider audience. By infusing my translations with the vibrancy and spirit of the original poems, I hope to breathe new life into these age-old verses and captivate the hearts of readers around the world.

Translating the Hyakunin Isshu has been a labor of love, as I strive to maintain the integrity of the poems while making them accessible to modern readers. Each line carries a delicate balance of meaning, sound, and rhythm, and my aim is to preserve that delicate equilibrium in every translation.

But this journey isn’t just about serious scholarly work. It’s also about the joy of discovery and the delight in sharing the magic of Japanese poetry with a wider audience. So, let’s embark on this adventure together, as we unravel the rich tapestry of emotions, the vivid imagery, and the timeless wisdom woven within the Hyakunin Isshu.

Join me in celebrating the vibrant spirit of Japanese culture, the universal emotions that transcend time, and the boundless beauty encapsulated within these one hundred poems. Let’s revel in the magic of language, the power of translation, and the joy of cultural exploration. Together, we can illuminate the world with the brilliance of Hyakunin Isshu!

Thus it begins…

100 Days, 100 Poems:The Hyakunin Isshu Translation Challenge Lets Go OK!

Day 1: Emperor Tenji (668-671)

Emperor Tenji (天智天皇 Tenji tennō; 626−671) was the 38th Emperor of Japan (in traditional order of succession) who ruled between 668 and 671

Emperor Tenji (天智天皇, Tenji-tennō, 626 – January 7, 672)

秋の田のかりほの庵の苫をあらみ
わが衣手は露にぬれつつ

“Autumn fields, where the wild geese rest, and a thatched hut stands,
My sleeves soaked with dewdrops, I approach with cautious steps.

Translating classical Japanese poetry is like embarking on a thrilling linguistic adventure. As I delve into the first poem of Hyakunin Isshu, I immerse myself in the beauty of its words and seek to capture their essence in English.

The process of translation involves carefully selecting the right words and phrases to preserve the sense and meaning of the original text. It’s like solving a puzzle, finding the perfect combination that resonates with readers while staying true to the poet’s intent.

In this particular verse, the vivid imagery of an autumn field with a humble thatched hut comes to life. The challenge lies in finding English equivalents that convey the same emotions and visual imagery. I want readers to experience the serenity of the scene and feel the dewdrops clinging to their own sleeves.

But how do we translate “かりほの庵” (kariho no io), which refers to a thatched hut in a poetic and evocative manner? To preserve the atmosphere, I’ve chosen to translate it as “a thatched hut stands.” This way, the image of a simple dwelling in nature is retained.

The line “わが衣手は露にぬれつつ” (waga koromode wa tsuyu ni nuretsutsu) presents another challenge. It expresses the speaker’s sleeves being soaked with dewdrops. To capture the same feeling, I’ve translated it as “My sleeves soaked with dewdrops, I approach with cautious steps.” This conveys the sense of the speaker’s delicate movements and the physical sensation of dew wetting their sleeves.

Translating classical Japanese into modern English requires balancing authenticity and accessibility. It’s about bringing the essence of the poem into a new cultural context while keeping its spirit alive. The aim is to invite readers on a delightful journey through time, where they can savor the beauty and emotions woven into these ancient verses.

So let’s embark together, with sleeves dampened by dewdrops, into the enchanting world of Hyakunin Isshu! Let the poetry captivate our hearts and transport us to the fields of autumn, where nature’s serenity and human emotions intertwine in perfect harmony.

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