دانلود کتاب Waiting for the Wind: Thirty-Six Poets of Japan’s Late Medieval Age

Winner of the 1989 Donald Keene Center Japan-U.S. Friendship Commission Prize for the Translation of Japanese Literature.

The only collection in English of these works, _Waiting for the Wind_ presents more than four hundred poems by thirty-six poets of Japan’s late medieval age (1250—1500). The poems are all in the uta form (the thirty-one syllable lyric) that was the major genre of court poetry throughout the classical period in Japan.
_Waiting for the Wind_ introduces this much neglected, yet very significant period through works of poets from the courtier Fujiwara No Teika, to the Monk Tonna, to Shotetsu. Most of the works are presented in English for the first time.
In his historical introduction Steven Carter describes the period, especially the celebrated literary dispute lasting 250 years between the families of two sons of a court poet. This feud began over an inheritance and had lasting impact upon the poetry of the period. Each poet in the collection is introduced by a short biographical sketch that places him or her in historical context and offers a short critical evaluation.

Steven D. Carter is Associate Professor in the Department of East Asian Studies at the University of California, Irvine. He is the author of _The Road to Komatsubara_ and _Three Poets at Yuvama_.

"Review by: Lawrence E. Marceau, _Journal of Asian Studies_, v.53:4 (Nov 1994), p.1263-1265

The paperback reissue of Steven D. Carter's award-winning collection of Kamakura and Muromachi period waka is a welcome addition to the small corpus of reasonably priced translations available for student purchase. Carter engages in his own brand of canon formation by providing us with a self-selected anthology of 447 poems by thirty-two men and four women who lived between 1158 (Fujiwara no letaka) and 1537 (Sanjonishi Sanetaka). The range of examples for each poet runs from one for To no Tsuneyori to forty-five for Fujiwara no Sadaie (=Teika), with an average of nearly twenty-five poems per individual.

Drawing from both imperial and privately sponsored collections, Carter provides us with a surprisingly clear denotation of the stylistic and rhetorical boundaries that defined the "conservative" Nijo poetic line in contrast to the "unorthodox" rival Kyogoku and Reizei lines (Carter's terms). By including poets known for their accomplishments in other areas, such as Nijo Yoshimoto, Shinkei, and Sogi, Carter indicates the direction waka composition would take as renga-linked verse gained prominence.

A minor regret regarding this work is that studies and translations completed between 1989, when the first edition appeared, and 1994 are not taken into account. Therefore, when we read of Kyogoku Tamekane (pp. 95-109), we find no reference, much less a response, to Robert N. Huey's 1989 monograph on Tamekane and his use of waka to buttress the position of his patrons in the late-Kamakura aristocracy. Similarly, in his discussion of the nun Abutsu (pp. 78-84), Carter directs us to read an English translation of her Izayoi nikki in Edwin 0. Reischauer and Joseph K. Yamagiwa's 1951 Translations from Early Japanese Literature (Cambridge: Harvard University Press, second revised edition, 1972), without mentioning that it is also available in Helen C. McCullough's 1990 Classical Japanese Prose (Stanford: Stanford University Press). I expect that this problem is more a result of the publisher's interest in avoiding extra expense than of Carter's lack of desire to update this work."