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上代後半〔大伴家持〕
Late Jodai period (Otomo no Yakamochi)

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 上代後半は、ほぼ8世紀で、奈良時代にあたります。柿本人麻呂によって一挙に頂点に達した『万葉集』の歌は、この時期に急速に個性化の様相を見せ始めます。この時期を代表する歌人は、大伴旅人、山上憶良、そして大伴家持です。

■パネルの人物:大伴家持
 養老2年(718)頃生まれ、延暦4年(785)没。父は大伴旅人、叔母は大伴坂上郎女で、どちらも著名な歌人です。『万葉集』の約一割が家持の歌であることから、『万葉集』の編纂に携わったかと考えられています。
島津忠夫氏は、「家持の至り着いた独自の景と情との融合した境地は、『万葉集』の中でも比類がなく、家持の、ひいては『万葉集』の一つの達成と見ることが出来る」としています。

■代表歌
〈 うらうらに照れる春日にひばり上がり心悲しもひとりし思へば 〉

 〔意味〕麗らかな春の日差しの中、ひばりが空高く飛び上がり、何とも悲しいのだ、ひとりで思うと。
The late Jodai period corresponds approximately to the 8th century, or the Nara Period (710-794 CE). The poems in the Manyoshu collection, which elevated the art form through works by Kakinomoto no Hitomaro and others, exemplify how work during this period began to rapidly evolve to show distinctly individual characteristics from poet to poet. Noted poets of this era include Otomo no Tabito, Yamanoue no Okura, and Otomo no Yakamochi.


■ Person featured on panel: Otomo no Yakamochi

Born in 718 and died in 785. His father, Otomo no Tabito, and his aunt, Otomo no Sakanoue no Iratsume, were both famous poets. Given that nearly 10% of the poems in the Manyoshu are by Yakamochi, he is believed to have been involved in its compilation.

Tadao Shimazu states, 'The unique space Yakamochi arrived at, blending his very own aesthetic and feelings, is in a class of its own even in the 'Manyoshu,' and can be seen as one of his foremost achievements and, in turn, one of the accomplishments wrought by the Manyoshu.'


■ Signature poem
うらうらに照れる春日にひばり上がり心悲しもひとりし思へば

Explanation: Amid the beautiful spring sunshine, the skylarks soar high into the air. How sorrowful it is to contemplate this alone.