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Which shall he choose to be his companion for life? The verse represents a man strongly attracted by two girls: one, perhaps a dancer, very fair to look upon the other beautiful in character. Womanly charm is compared to the cherry flower and also to the plum flower but the quality symbolized by the plum flower is moral always rather than physical. For the like reason, one knows that in the following song the speaker is not a woman: -įlowers in both my hands, -flowers of plum and cherry: Which will be, I wonder, the flower to give me fruit? Springing straight from the heart of the eternal youth of the race, these little gushes of song, like the untaught poetry of every people, utter what belongs to all human experience rather than to the limited life of a class or a time and even in their melodies still resound the fresh and powerful pulsings of their primal source.Įvidently the speaker is a girl who wishes for a lover the same simile uttered by masculine lips would sound in Japanese ears much as would sound in English ears a man's comparison of himself to a violet or to a rose. The real art of them, in short, is their absolute artlessness. But to understand the compositions of the people no scholarship is needed: they are characterized by the greatest possible simplicity, directness, and sincerity. Her poetry is the one original art which Japan has certainly not borrowed either from China or from any other country and its most refined charm is the essence, irreproducible, of the very flower of the language itself: hence the difficulty of representing, even partially, in any Western tongue, its subtler delicacies of sentiment, allusion, and color. If you care to know how difficult the subject is, just study the chapter on prosody in Aston's Grammar of the Japanese Written Language, or the introduction to Professor Chamberlain's Classical Poetry of the Japanese. And what pleases him I am not qualified to write about for one must be a very good Japanese scholar to meddle with the superior varieties of Japanese poetry. He is himself an adept at classical verse, and despises the hayari-uta, or ditties of the day it requires something very delicate to please him. Thus came it to pass that Manyemon made for me a collection of Vulgar Songs.īy "vulgar" Manyemon meant written in the speech of the common people. If it be honorably desired, I can write down the songs of the washermen, and the songs which are sung in this street by the smiths and the carpenters and the bamboo-weavers and the rice-cleaners. "There is no more: that is the whole of the song. "There are famous Western romances containing nothing wiser.
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Three years thought of her, Five years sought for her Only one night held her in my arms.Ī very foolish song!" "I don't know," I said. "And the other song?" "The other song is probably new:. I heard it often when I was myself a boy." Things never changed since the Tine of the Gods: The flowing of water, the Way of Love. "The song of the boy," he said, "is an old song:. Whereupon I called Manyemon and asked him what the singing was about.
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Yesterday, the apprentice-a lad of fifteen-and the master of the washermen were singing alternately, as if answering each other the contrast between the tones of the man, sonorous as if boomed through a conch, and the clarion alto of the boy, being very pleasant to hear.
Queer as folk soundtrack hear my name full#
It is full of long, queer, plaintive modulations. Every morning at daybreak their singing wakens me and I like to listen to it, though I cannot often catch the words. Next to my house there is a vacant lot, where washermen ( sentakuya) work in the ancient manner,-singing as they work, and whipping the wet garments upon big flat stones.