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Ariwara no Narihira
在原業平

Ariwara no Narihira par Kanō Tan'yū, 1648.

Données clés

Naissance	825
Décès	Modèle:Death date

Auteur

Langue d’écriture	moyen japonais

| period = early Heian | genre = waka | subject = nature, romantic love | movement = | notableworks = | spouse = unknown | partner = several | children = Ariwara no Muneyana, Ariwara no Shigeharu, others (at least one daughter) | relatives = Emperor Heizei (paternal grandfather), Fujii no Fujiko (葛井藤子, paternal grandmother), Emperor Kanmu (maternal grandfather), Fujiwara no Minamiko (藤原南子, maternal grandmother), Prince Abo (father), Princess Ito (mother), Ariwara no Yukihira (half-brother), Ōe no Otondo (half-brother), Ōe no Chisato (nephew), Ariwara no Motokata (grandson) | awards = | signature = | signature_alt = | years_active = | module = | website = | portaldisp = }}

Ariwara no Narihira (在原業平, also known as Zai Go-Chūjō, Zai Go, Zai Chūjō ou Mukashi-Otoko; 825—880) est un aristocrate japonais du début de l'époque de Heian.

Il est aussi un poète de waka, choisi parmi les six génies de la poésie et les trente-six grands poètes, et une de ses poémes était included dans l'Ogura Hyakunin Isshu de Fujiwara no Teika.

Il est le fils du prince Abo, fils de l'empereur Heizei, et la princesse Ito, fille de l'empereur Kanmu.

Il exerted une influence profonde sur la culture japonaise des générations ultérieurs; his many renowned love affairs inspired the Ise Monogatari, and he has ever since been a model of the handsome, amorous nobleman.

Biography

Naissance et généalogie

Narihira est né en 825.

Il était le grandfils de deux empereurs: l'empereur Heizei through son père, le prince Abo, et l'empereur Kanmu through sa mère, la princesse Ito. Il était le cinquième fils du prince Abo, but was supposedly the only child of Princess Ito, who lived in the former capital at Nagaoka. Some of his poems were written about his mother.

En 826, il est écarté de la lignée impériale et reçoit le nom d'Ariwara, en même temps que ses frères Yukihira, Nakahira et Morihira. Ōe no Otondo, l'intellectuel et le père d'Ōe no Chisato, était aussi un frère de Narihira.

Political career

The reputed site of Narihira's residence, near Karasuma Oike Station

Narihira was of high birth and served at court, but is mainly remembered for his poetry.

In 841 he was appointed Lieutenant of the Right Division of Inner Palace Guards, before being promoted to Lieutenant of the Left Division of Inner Palace Guards and then Keeper of Imperial Archives. In 849, he held the Junior Fifth Rank, Lower Grade.

He later rose to the positions of Provisional Assistant Master of the Left Military Guard, Assistant Chamberlain, Provisional Minor Captain of the Left Division of Inner Palace Guards, Captain of the Right Division of the Bureau of Horses, Provisional Middle Captain of the Right Division of Inner Palace Guards, Provisional Governor of Sagami, reaching the Junior Fourth Rank, Upper Grade. By fin de sa vie he rose to become Chamberlain, and Provisional Governor of Mino.

Donald Keene observed in his description of Narihira as the hero des Contes d'Ise:

Narihira combined all the qualities most admired in a Heian courtier: he was of high birth (a grandon of the Emperor Heizei), extremely handsome, a gifted poet, and an all-conquering lover. He was probably also an expert horseman, adept in arms, and a competent official. These aspects of his life are not emphasized in Tales of Ise, but they distinguish Narihira from other heroes of Heian literature, including Genji.

Romantic affairs

Narihira was known as a great lover; a third of his poems included in the Kokinshū describe his various romantic affairs, and after his death national history Sandai Jitsuroku (compiled 901) said of him: "Narihira was elegant and of handsome appearance, but he was unrestrained in his self-indulgence."

It has been speculated, based in part on their being considered the most beautiful man and woman of their age, that Narihira and Ono no Komachi may have been lovers, but there is little evidence for this one way or the other (see below).

D'après les Contes d'Ise, il est tombé en amour avec Fujiwara no Takaiko, une consort de l'empereur Seiwa, et ce scandale a provoqué peut-être son départ de Kyōto et son séjour à l'est. It has been speculated that this romantic affair with the consort of the emperor was the reason why the Sandai Jitsuroku describes his rank as going down from Junior Fifth Rank, Lower Grade to Senior Sixth Rank, Upper Grade, before again rising to Junior Fifth Rank, Upper Grade the following year. However, it as also been speculated that this may be an error in the Sandai Jitsuroku as a result of binding changing the order of events. Furthermore, Fujiwara no Takaiko reputedly had an affair with the monk Zen'yū (善祐), which may have formed the core of the (otherwise entirely fictional) legend that she also had an affair with Narihira. Whether the affair was historical or not, the Reizei family's commentary on the Contes d'Ise speculates that Emperor Yōzei was a product of this union, and not the previous emperor.

One of Narihira's most famous affairs — qui est devenu peut-tre l'origine du titre des Contes d'Ise — was with Yasuko, high priestess of the Ise Grand Shrine (斎宮恬子, Saigū Yasuko).^{[réf. nécessaire]} Les Contes d'Ise describes the protagonist, presumed to be Narihira, visiting Ise on a hunt, and sleeping with the priestess. However, a passage in the Kokinshū describes the meeting ambiguously, in a manner that implies Narihira did not sleep with the priestess herself but rather another woman in her service. The twelfth-century work Gōshidai (江次第) and the thirteenth-century work Kojidan claim that the product of this union was Takashina no Moronao (高階師尚), who was later adopted by Takashina no Shigenori (高階茂範).

Pérégrination vers l'est

Le Kokin Wakashū, les Contes d'Ise et le Yamato Monogatari all describe him as leaving the capital to travel east, travelling along the Tōkaidō and crossing the Sumida River, composing poems at famous places (see utamakura) along the way. Les Contes d'Ise implies this journey was the result of the scandalous affair between Narihira and Fujiwara no Takaiko. There are doubts as to whether this journey actually took place, however, from the point of view both that the number of surviving poems is quite small for having made such a trip and composing poems along the way, and in terms of the historical likelihood that a courtier could have gone wandering to the other end of the country with one or two friends keeping him company.

Death

According to the Sandai Jitsuroku, he died on the 28th day of the fifth month of 880.

Poem 861 in the Kokinshū, Narihira's last, expresses his shock and regret that his death should come so soon:

Japanese text	Japonais romanisé	Traduit en français
つひにゆく 道とはかねて 聞きしかど 昨日今日とは 思はざりしを	tsui ni yuku michi to wa kanete kikishikado kinō kyō to wa omouwazarishi wo	Qu'à la fin c'est le chemin qu'il faille aller je le savais : mais que ce fût pour hier - pour aujourd'hui non cela je ne le pensais pas !

Burial site

The Mount Yoshida grave site

The Jūrin-ji grave site

The location of Narihira's grave is uncertain.

In the Middle Ages he was taken to be a deity (kami) or even an avatar of the buddha Dainichi, and so it is possible that some of the Narihira "graves" are in fact sacred sites consecrated to him rather than places where he was actually believed to have been buried. Kansai University professor and scholar of the Tales of Ise Tokurō Yamamoto (山本登朗, Yamamoto Tokurō) has speculated that the small stone grove on Mount Yoshida in eastern Kyoto known as "Narihira's grave" (業平塚, Narihira-zuka) may be such a site. He further speculated that the reason this particular site became associated with Narihira was because the grave-site of Emperor Yōzei, in the Middle Ages widely believed to have secretly been fathered by Narihira, was locate close by.

Another site that has been proposed is Jūrin-ji (十輪寺) in western Kyoto, which is also known as "Narihira Temple" (なりひら寺, Narihira-dera).^{[réf. nécessaire]}

Descendants

Narihira a engendré des poètes waka Muneyana et Shigeharu (在原滋春), et au moins une fille. Par Muneyama, il était aussi le grand-père du poète Ariwara no Motokata. Une de ses petites-filles, dont le nom est inconnu, était épousée à Fujiwara no Kunitsune, mais elle a eu une liaison avec Taira no Sadafun.

Appellations

On l'appelle aussi Zai Go-Chūjō (在五中将), Zai Go (在五) ou Zai Chūjō (在中将). Zai est la lecture sino-japonais du première charactère de son nom, Ariwara, et Go ("cinq") refers to him and his four brothers Yukihira, Nakahira, Morihira, and Ōe no Otondo. Chūjō ("Middle Captain") is a reference to the post he held near the end of his life, Provisional Middle Captain of the Right Division of Inner Palace Guards.^{[réf. nécessaire]}

After the recurring use of the phrase in the Tales of Ise, he is also known as Mukashi-Otoko (昔男).

Poetry

Trente poèmes attributed to him sont inclus dans l'anthologie impériale Kokin Wakashū, and many more in later anthologies, but the attributions are dubious.

Ariwara no Narihira, from the Ogura Hyakunin Isshu.

Of the eleven poems attributed to him by the Gosenshū, several were by different authors (two were actually by Fujiwara no Nakahira and one by Ōshikōchi no Mitsune, for example). The Shin Kokinshū and later court anthologies attribute more poems to Narihira, but many of these were likely misunderstood to have been written by him because of their appearance in the Tales of Ise. Some of these were probably composed after Narihira's death. Combined, poems attributed to Narihira in court anthologies number eighty-seven in total.

He was one of the Six Poetic Geniuses, poets mentioned in Ki no Tsurayuki's kana preface to the Kokinshū as important poets of an earlier age. He was also included in Fujiwara no Kintō's later Thirty-Six Poetic Geniuses.

The following poem by him was included as No. 17 in Fujiwara no Teika's Ogura Hyakunin Isshu:

Japanese text	Japonais romanisé	Traduit en français
ちはやぶる 神代も聞かず 竜田川 からくれなゐに 水くくるとは	Chihayaburu kami-yo mo kikazu tatsuta-gawa kara-kurenai ni mizu kuguru to wa	Fait inouï même Au temps fabuleux des dieux : La rivière Tatsuta Teinte ses eaux de motifs D'un écarlate profond

He left a private collection, the Narihira-shū (業平集), which was included in the Sanjūrokunin-shū (三十六人集). However, this was likely compiled by a later editor, after the compilation of the Gosenshū in the middle of the tenth century.

Characteristic style

Although at least some of the poems attributed to him in imperial anthologies are dubious, there is a large enough body of his work contained in the relatively reliable Kokinshū for scholars to discuss Narihira's poetic style. Narihira made use of engo (related words) and kakekotoba (pivot words).

The following poem, number 618 in the Kokinshū, is cited by Keene as an example of Narihira's use of engo related to water:

Japanese text	Japonais romanisé	Traduit en français
つれづれの ながめにまさる 涙河 そでのみぬれて 逢ふよしもなし	tsurezure no nagame ni masaru namidagawa sode nomi nurete au yoshi mo nashi	Quel tourment ! La rivière de larmes plus forte que la pluie à elle seule mouille ma manche et je ne sais comment aller à votre rencontre

The "water" engo are asami (shallows of a river), hizurame (may be soaked), namidagawa (a river of tears) and nagaru (to drift).

Narihira's poems were exceptionally ambiguous by Kokinshū standards, and so were treated by the anthology's compilers to relatively long headnotes. He was the only poet in the collection to receive this treatment. An example of Narihira's characteristic ambiguity cited by Keene is Kokinshū No. 747:

Japanese text	Romanized Japanese	Traduit en français
月やあらぬ 春や昔の 春ならぬ わが身ひとつは もとの身にして	tsuki ya aranu haru ya mukashi no haru naranu wa ga mi hitotsu moto no mi ni shite	Oui, c'est bien la même lune et ce printemps est bien de jadis le printemps : mais en moi il n'st plus que le corps qui soit encore le corps d'antan...

This poem, Narihira's most famous, has been subjected to several conflicting interpretations by scholars in recent centuries. The Edo period kokugaku scholar Motoori Norinaga interpreted the first part of it as a pair of rhetorical questions, marked by the particle ya. He explained away the logical inconsistency with the latter part of the poem that his reading introduced, by reading in an "implied" conclusion that though the poet remains the same as before, everything somehow feels different. The late-Edo period waka poet Kagawa Kageki (香川景樹, 1768–1843) took a different view, interpreting the ya as exclamatory: the moon and spring are not those of before, and only the poet himself remains unchanged.

A similar problem of interpretation has also plagued Narihira's last poem (quoted above). The fourth line, kinō kyō to wa, is most normally read as "(I never thought) that it might be yesterday or today", but has been occasionally interpreted by scholars to mean "until yesterday I never thought it might be today"; others take it as simply meaning "right about now". But the emotion behind the poem is nonetheless clear: Narihira, who died in his fifties, always knew he must die someday, but is nonetheless shocked that his time has come so soon.

Reception

Tsurayuki's preface to the Kokinshū described Narihira's poems as containing "too much feeling and insufficient words. They are like faded flowers whose color has been lost but which retain a lingering fragrance".

Keene pointed out that this criticism likely reflected a change in literary tastes in the decades between Narihira's compositions and Tsurayuki's criticisms. His history of Japanese literature, Seeds in the Heart concluded its discussion of Narihira with the following: ḕ

Narihira was not a profound poet. His surviving poems are mainly occasional, and even when the expression suggests deeply felt emotion, its worldly manner keeps his poetry from attaining the grandeur of the best Man'yōshū poems in the same vein. He is nevertheless of historical importance as one who maintained the traditions of the waka during the long night of the dominance of poetry in Chinese.

Poet and translator Peter McMillan says the large number of his poems included in the Kokinshū and later court anthologies is an indicator of the high regard in which his poetry was held.

Narihira et les Contes d'Ise

Les Contes d'Ise est a collection of narrative episodes, centered around Narihira, and presenting poems he had composed, along with narratives explaining what had inspired the poems.

Autrefois, Narihira était regardé comme écrivain des Contes, mais scholars have come to reject this attribution. Keene speculates that it is at least possible that Narihira originally composed the work from his and others' poems as a kind of inventive autobiography, and some later author came across his manuscript after his death and expanded on it. The protagonist of the work was likely modelled on him. The work itself was likely put together in something resembling its present form by the middle of tenth century, and took several decades starting with Narihira's death.

Three stages have been identified in the composition of the work. The first of these stages would have been based primarily on poems actually composed by Narihira, although the background details provided were not necessarily historical. The second saw poems added to the first layer that were not necessarily by Narihira, and had a higher proportion of fiction to fact. The third and final stage saw some later author adding the use of Narihira's name, and treating him as a legendary figure of the past.

The late-eleventh century work known as The Tale of Sagoromo refers to Ise by the variant name Zaigo Chūjō no Nikki &emdash; "Narihira's diary".

Relationship with Ono no Komachi

It has been speculated for centuries that Narihira and his contemporary Ono no Komachi may have been lovers. 20th-century scholars such as Makane Sekitani (関谷真可禰, Sekitani Makane) have held up this theory, but it can be traced back at least as far as the 14th-century historian Kitabatake Chikafusa.

Estampe de Tsukioka Yoshitoshi représentant Ariwara no Narihira cherchant le fantôme d'Ono no Komachi du regard.

Chikafusa was likely using Kamakura period Kokinshū commentaries like the extant Bishamondō-bon Kokinshū-chū (毘沙門堂本古今集注), which speculates that one of Komachi's poems was left for Narihira after a tryst. The Bishamondō-bon Kokinshū-chū was in turn likely working from a then-common belief that the Tales of Ise, a work of fiction, was a genuine historical work detailing the actual events in Narihira's life (see above). Kamakura period commentaries on the Tales of Ise therefore tried to insert the names of real women where the original text simply said "a woman", and thus inserted Ono no Komachi into several passages of the text.

The literary scholar Yōichi Katagiri, on analysis of the surviving evidence (or, rather, lack thereof), concluded that, while it is possible that Narihira and Ono no Komachi knew each other and were lovers, there was no usable evidence to say conclusively either way.

Influence on later Japanese culture

In later centuries he has been considered the epitome of the amorous bel homme, and his famed romantic escapades gave rise to many later legends. He and his contemporary Ono no Komachi were considered the archetypes of the beautiful man and woman, respectively, of the Heian court, and appear in this capacity in many later literary works, particularly works of the Noh theatre.

It is believed he was one of the men who inspired Murasaki Shikibu when she created Hikaru Genji, the hero of the Genji Monogatari. Though not directly stated in the text, the Tales of Ise was interpreted by later commentators as implying that Narihira's illicit union with the empress Fujiwara no Takaiko made him the true father of Emperor Yōzei; whether Murasaki interpreted the work this way is uncertain, but the Tale of Genji describes a very similar incident in which the protagonist, a former imperial prince made a commoner, has an affair with an empress and sires a son who ultimately becomes emperor as his true parentage is kept secret.

Along with his contemporary Ono no Komachi and the hero of The Tale of Genji, he figured prominently in Edo period ukiyo-e prints and was alluded to in the ukiyo-zōshi of Ihara Saikaku.

Ōtomo Yoshiaki, un samouraï du seizième siècle, used Narihira and the courtly world of the Tales of Ise as an ironic reference in a poem he composed on the severed head of his defeated enemy Tachibana Nagatoshi, the lord of Tachibana Castle in Chikuzen Province.

Japanese text[réf. nécessaire]	Japonais romanisé	Traduit en anglais
	Tachibana wa mukashi otoko to narinikeri uikaburi suru kokochi koso sure	Tachibana has Now been transformed into A man of long ago. He must feel as if he had First put on an adult's hat.

Narihira in setsuwa literature

Narihira was a recurring figure in later tale (setsuwa) literature,^{[réf. nécessaire]} such as in tales 35 and 36 of Book 24 of the Konjaku Monogatarishū.

Gallery

• Ariwara no Narihira image gallery
• 
  Drawing of Narihira by Kikuchi Yōsai.
• 
  Woodblock print by Ryūkōsai Jokei of kabuki actor Yoshizawa Iroha I (芳沢いろは) portraying Narihira on stage.

Bibliography

• Katagiri Yōichi. 1975. Ise Monogatari, Yamato Monogatari in Kanshō Nihon Koten Bungaku series. Tokyo: Kadokawa Shoten.
• Katagiri Yōichi. 2009 (1st ed. 2005). Kokin Wakashū. Tokyo: Kinuma Shoin.
• (en) Yōichi Katagiri, Shinsō-ban: Ono no Komachi Tsuiseki, Tokyo, Kasama Shoin, 2015 (ISBN 978-4-305-70781-9)
• Katagiri Yōichi, Fukui Teisuke, Takahashi Seiji and Shimizu Yoshiko. 1972. Taketori Monogatari, Yamato Monogatari, Ise Monogatari, Heichū Monogatari in Nihon Koten Bungaku Zenshū series. Tokyo: Shogakukan.
• (en) Donald Keene, A History of Japanese Literature, Vol. 1: Seeds in the Heart – Japanese Literature from Earliest Times to the Late Sixteenth Century, New York, NY, paperback, 1999 (ISBN 978-0-231-11441-7)
• (en) Helen Craig McCullough, Tales of Ise: Lyrical Episodes from 10th Century Japan, Stanford University Press, 1968 (ISBN 0-8047-0653-0)
• Mabuchi Kazuo, Kunisaki Fumimaro, Inagaki Taiichi. 2001 (6th ed. 2006). Konjaku Monogatarishū (3) in Shinpen Nihon Koten Bungaku Zenshū series . Tokyo: Shogakukan.
• McMillan, Peter. 2010 (1st ed. 2008). One Hundred Poets, One Poem Each. New York: Columbia University Press.
• Mezaki Tokue. 1970. Ariwara no Narihira, Ono no Komachi. Tokyo: Chikuma Shobō.
• Nihon Koten Bungaku Daijiten. 1983. Tokyo: Iwanami Shoten.
• Nishizawa Masashi (ed.). 2002. Koten Bungaku o Yomu tame no Yōgo-Jiten. Tokyo: Tōkyō-dō Shuppan.
• Okumura Tsuneya. 1975. "Kokinshū no Seishin" IN Bungaku 43:8.
• (en) Haruo Shirane, Early Modern Japanese Literature: An Anthology, 1600—1900, Abridged, New York, Columbia University Press, 2008 (ISBN 978-0-231-14415-5)
• Suzuki Hideo, Yamaguchi Shin'ichi, Yoda Yasushi. 2009 (1st ed. 1997). Genshoku: Ogura Hyakunin Isshu. Tokyo: Bun'eidō.
• Yamamoto Tokurō, "Yoshida-yama no Narihira-zuka" in Reki, June 2003 edition, pp. 27–30. Accessed (via Kansai University website) 21 September 2015.

External links

• List of Narihira's poems in the International Research Center for Japanese Studies's online waka database.
• The Narihira-shū in the same database.
• Ariwara no Narihira on Kotobank.