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was a Japanese ''waka'' poet and aristocrat of the late Asuka period. He was the most prominent of the poets included in the ''Man'yōshū'', and was particularly represented in volumes 1 and 2. He is ranked as one of the Thirty-six Poetry Immortals. From the Heian period period on, he was often called "Hito-maru" (人丸). ==Works and style== Hitomaro is famed for his long poems, such as "In the sea of ivy clothed Iwami",〔(【引用サイトリンク】title=2001 Waka - Waka No.30 )〕 "The Bay of Tsunu",〔(【引用サイトリンク】title=2001 Waka - Waka No.26 )〕 and "I loved her like the leaves." 19 of his ''chōka'' ("long poems") were included in the ''Man'yōshū'' and 75 or so ''tanka'' ("short poems") were likewise selected. Many of his poems were written on the topics of public occasions; such as his "Lament for Prince Takechi", written as part of the mourning ceremonies for Takechi. Other poems were written on occasions in his life when he was particularly moved: parting from his wife, mourning for his wife, or on seeing a corpse. His style makes use of figures of speech such as makurakotoba, jokotoba, and ''ouin'' (押韻) or rhyme. Among his ''chōka'', he makes use of complex and variant ''taiku'' (対句) or antithesis. In his ''tanka'', Hitomaro makes use of nearly 140 makurakotoba, among which half are not seen in previous works, which attests to his originality.In addition, his poetry includes kotodama such as: :''Shikishima no / Yamato no kuni ha / kototama no / tasukuru kuni zo / masakiku ari koso'' :(敷島の 大和の国は 言霊の 助くる国ぞ まさきくありこそ) :(''Man'yōshū'' Vol. 13, 3254) In his hymns and elegies, he uses expressions such "Should his highness be a god" (大君は 神にしませば), "Being a god, becoming to a god" (神ながら 神さびせすと), and "Prince of the sun, shining on high" (高照らす 日の皇子) to highly glorify the emperor as an ascendant divinity and express his deeds. While examples of such expressions of the emperor as an ascendant divinity do appear in ancient historical works and folk songs, they are featured so prominently in Hitomaro's works as to make him stand out among all other contemporary poets. Further, such expressions quickly declined in use after Hitomaro, as the national enforcement of ritsuryō regulations between Emperor Temmu's reign and Jitō's court had encouraged him. In effect, such expressions can be seen as a product of the regulations of the time. In regards to his love poetry, there are a number of extant ''chōka'' to women, and it was used to be thought by some, such as Mokichi Saitō, that he held numerous wives and mistresses. It is a more widely accepted interpretation today that Hitomaro is composing love stories rather than putting to verse his own experiences. Regardless if the contents are fact or fiction, Hitomaro placed emphasis on married life together, and the love poems capture his expressive nature.〔Kubota Utsubo's ''A Commentary on the Man'yōshū'' (万葉集評釈)〕 The following waka makes use of both makurakotoba and jokotoba and is attributed to Hitomaro by Fujiwara no Teika. The source of this poem, however, is from a variant tradition of ''Man'yōshū'' Vol. 12, 2802, and was included as the third poem in the ''Ogura Hyakunin Isshu'': :(Man'yōgana) 足日木乃 山鳥之尾乃 四垂尾之 長永夜乎 一鴨將宿 :(Hiragana) あしびきの 山鳥の尾の しだり尾の ながながし夜を ひとりかも寝む :''Ashibiki no / yamadori no o no / shidari o no / naganagashi yo wo / hitori kamo nen'' Some scholars debate that this poem was actually composed by Hitomaro, as it was preserved in the ''Shūi Wakashū''. Rough translation: When it becomes night, like the mountain birds that part and sleep in sad loneliness, what a long, long night I may sleep in sad loneliness. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Kakinomoto no Hitomaro」の詳細全文を読む スポンサード リンク
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