Page:Anthology of Japanese Literature.pdf/28

24 INTRODUCTION

that the men considered writing in Japanese to be beneath them and devoted themselves to the composition of poetry and prose in Chinese, leaving the women to write masterpieces in the native language. This is not a complete explanation—some of the lesser novels and other prose works in Japanese were written by men—but it is close enough to the truth to warrant its acceptance. Of the literature written in Chinese during the period, the poems by Sugawara no Michizane (845–903) are especially fine. Michizane was an accomplished poet, and was so widely known for his learning that after his death he was enshrined as a god of literature and calligraphy.

The poetry of the Heian Period both in Japanese and Chinese is far more restricted in subject matter and manner than that of the earlier period. The Japanese poems are filled with falling cherry blossoms and maple leaves, the Chinese poems with the scent of plum blossoms and chrysanthemums. There is nothing wrong with these subjects, but it is hard to think of any fully developed poet devoting the major part of his attention to such themes. The aim of Heian poets was to perfect rather than to discover, to hit upon exactly the right adjective or image to be used in a familiar situation, rather than to invent a new one. This method may be most clearly illustrated by the following two tenth-century poems:

Aki kaze ni Shitaha ya samuku Narinuramu Kohagi ga hara ni Uzura naku nari	The under leaves In the autumn wind Must have become cold: In the moor of little lespedezas The quail are crying.
	Fujiwara no Michimune
Tsuyu musubu Hagi ga shitaha ya Samukaramu Aki no nohara ni Ojika naku nari	The under leaves of the lespedeza When the dew is gathering Must be cold: In the autumn moor The young deer are crying.
	Lady Sagami[1]

1. Translated by Arthur Waley.