Composed when he was far from courtier’s hall.
あまつ風ふけひの浦にゐるたづのなどか雲井にかへらざるべき
| ama tsu kaze fukei no ura ni iru tazu no nado ka kumoi ni kaerazarubeki | Heaven’s breezes Blow upon the shore at Fukei, where Rests a crane: Why, beyond the clouds, May he not return? |
Fujiwara no Kiyotada
藤原清正[1]
[1] Fujiwara no Kiyotada 藤原清正 (?-953): one of the Thirty-Six Poetic Immortals and a minor courtier. As well as being included in Shinkokinshū, this poem is also listed in Wakan rōeishū (II: 453), Kiyotada’s personal collection, Kiyotada-shū (89) and also the personal collection of Fujiwara no Tadami 藤原忠見, Tadami-shū (143). While Wakan rōeishū simply gives the topic of the poem as ‘Cranes’, the personal collections provide more information. Tadami states that the poem was ‘Sent to the Shōni Palace Lady to present in his place when he was of about the age to be admitted to the Courtier’s Hall and had become Governor of Kii’ making the waka a plea for further advancement at court. Kiyotada himself simply says ‘When I had become Governor of Kii and had not yet been permitted to enter the Courtier’s Hall.’ Tanaka and Akase (1992, 502) note that Kiyotada was appointed Governor of Kii while still a Chamberlain at Sixth Rank, when this was usually a post held by someone of Junior Fifth Rank, Lower Grade, the lowest rank at which a man would be permitted to enter the Courtier’s Hall (tenjō no ma 殿上間) and have direct contact with the emperor. The poem is, thus, simultaneously, an expression of gratitude for imperial favour (the ‘heavenly wind’) to him (‘the crane’) which has made him Governor of Ki – the province where Fukei is located, and a plea that he be allowed above ‘the clouds’ (into the Courtier’s Hall), which is subtly laced with resentment (‘Why haven’t I had the promotion in rank which this post would normally bring?’)!
I stayed by the beach at Fukiage. The moon was fair in the extreme, and the beach was a place where it was said that heavenly beings would often descend to and make merry. Truly, it was a fair place, indeed! That night, the sky was heart-rendingly moving, and as the night wore on, the breeze, brushing fallen frost from the ducks’ wing-feathers, brought loneliness to the skies, while the distant cries of cranes, calling for their comrades, was so moving, my words fail to express it. Birds other than these flocked, calling from the sandbars and even my insensitive and unfeeling self was moved beyond measure.
をとめごが天の羽衣ひきつれてむべもふけ井の浦におるらん
| otomego ga ama no hagoromo hikitsurete mube mo fukehi no ura ni oruran | Heaven’s maidens’ Feathered robes, Drawn up by The gusts at Fukehi Beach when they rest there. |
Round Nine
Left (M – Tie)
秋くれて千草の花は残らねど独うつろふ白菊のはな
| aki kurete chigusa no hana wa nokoranedo hitori utsurou shiragiku no hana | Autumn sinks to twilight, and Of a thousand blossoms Not one lingers, save Alone and fading A white chrysanthemum bloom. |
Lord Shigemoto
41
Right (T – Win)
かぎりなく君が千代経むしるしにや散残るらん宿のしらぎく
| kagirinaku kimi ga chiyo hemu shirushi ni ya chirinokoruran yado no shiragiku | That endless through A thousand ages will my Lord pass A sign there is: Not scattering and lingering White chrysanthemums at his house! |
Lord Tadataka
42
Toshiyori states: I don’t have much to point out about the poem on ‘autumn sinking to twilight’, except that it could have had ‘indeed, linger’ in place of ‘not one lingers, yet’ to lead to ‘alone and fading’. As for the second poem, there are no other examples of saying ‘chrysanthemums scatter’, yet I do wonder about how this sounds? Nevertheless, it has a conception of Felicitation and this makes it somehow superior.
Mototoshi states: the poems of Left and Right are of the same standard in both conception and diction, so it’s not possible to tell them apart. These, too, are of the same quality.
