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Jidai fudō uta’awase 25

Round Twenty-Five

Left

秋きぬとめにはさやかにみえねども風の音にぞおどろかれぬる

aki kinu to
me ni wa sayakani
mienedomo
kaze no oto ni zo
odorokarenuru
When autumn came
My eyes clearly
Could not see it, yet
In the sound of the wind
I felt it.

Lord Fujiwara no Toshiyuki

49[i]

Right

わすれじな難波の秋の夜半の空ことうらにすむ月はみるとも

wasureji na
naniwa no aki no
yowa no sora
koto’ura ni sumu
tsuki wa miru tomo
Never would I forget
Naniwa’s autumn
Midnight skies, though
Clear above another distant bay
The moon I see…

Tango

50[ii]


[i] KKS IV: 169: Composed on the first day of autumn.

[ii] SKKS IV: 400: On the autumn moon by the sea, for the poetry match held at the Poetry Office on the night of the Fifteenth of the Eighth Month.

SKKS IV: 400

On the autumn moon by the sea, for the poetry match held at the Poetry Office on the night of the Fifteenth of the Eighth Month.

わすれじな難波の秋の夜半の空ことうらにすむ月はみるとも

wasureji na
naniwa no aki no
yowa no sora
koto’ura ni sumu
tsuki wa miru tomo
Never would I forget
Naniwa’s autumn
Midnight skies, though
Clear above another distant bay
The moon I see…

Gishūmon’in no Tango

A kuzushiji version of the poem's text
Created with Soan.

Jidai fudō uta’awase 24

Round Twenty-Four

Left

たがみそぎゆふつけどりかから衣たつたの山にをりはへてなく

ta ga misogi
yūtsukedori ka
karakoromo
tatsuta no yama ni
orihaete naku
For whose lustration is
This mulberry cloth? A cockerel
Crows upon the Cathay robe
Cut out on Tatsuta Mountain,
Endlessly calling.[i]

47[ii]

Right

いくよわれなみにしをれてき舟がは袖に玉ちる物おもふらん

iku yo ware
nami ni shiorete
kibune gawa
sode ni tama chiru
mono’omouran
How many nights shall I spend
Drenched by the waves of
Kibune River, with
Sleeves scattered with the gemstones
Of my gloomy thoughts?[iii]

48[iv]


[i] This poem relies upon an elaborate series of overlapping word plays and images in order to achieve its effect.

First, we have ta ga misogi yūtsuke ‘For whose lustration ceremony is this mulberry cloth fastened?’. This overlaps with yūtsukedori ka karakoromo ‘A cockerel crows’ (karakoromo sounded to old Japanese ears like a cock’s crow). In turn, this overlaps with karakoromo tatsu ‘A Cathay robe cut out’, which overlaps with tatsuta no yama ‘Tatsuta Mountain’. Karakoromo was, in fact, a makura kotoba conventionally associated with tastu. A further double meaning is achieved in the final line where orihaete ‘endlessly’, is derived from a verb, orihau 織延ふ, meaning ‘weave at great length’.

Additionally, implicit in the poem is the knowledge that a Cathay robe would have been made out of brocade (nishiki 錦), which was an image frequently used in poetry to describe the panoply of scarlet autumn leaves at places such as Tatsuta.

So, the poem presents us with a progression of images: from the simplicity of the sacred mulberry cloth to the richness of the brocade robe; the cockerel used in a religious ceremony, recollecting the lustration, while simultaneously being an embroidered decoration on the Chinese robe, with its crows echoing endlessly through the autumn leaves at Tatsuta, and frozen into an endless crow upon the garment.

[ii] KKS XVIII: 995: Topic unknown. Anonymous.

[iii] An allusive variation on GSIS XX: 1163, which is a response poem to GSIS XX: 1162.

[iv] SKKS XII: 1141: On the conception of praying for love, when he held a poetry match in one hundred rounds at his house.

SKKS XII: 1141

On the conception of praying for love, when he held a poetry match in one hundred rounds at his house.

いくよわれなみにしをれてき舟がは袖に玉ちる物おもふらん

iku yo ware
nami ni shiorete
kibunegawa
sode ni tama chiru
mono’omouran
How many nights shall I spend
Drenched by the waves of
Kibune River, with
Sleeves scattered with the gemstones
Of my gloomy thoughts?[i]

The Regent and Grand Minister

A kuzushiji version of the poem's text.
Created with Soan.

[i] An allusive variation on GSIS XX: 1163, which is a response poem to GSIS XX: 1162.

Jidai fudō uta’awase 23

Round Twenty-Three

Left

月やあらぬ春やむかし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 wa
moto no mi ni shite
Is this not that moon?
And Spring: is as the Spring of old
Is it not?
Only this body of mine
Is as it ever was…

45[i]

Right

もらすなよ雲ゐるみねのはつしぐれ木葉は下にいろかはるとも

morasu na yo
kumo’iru mine no
hatsushigure
ko no ha wa shita ni
iro kawaru tomo
O, don’t drip down,
Peak-clinging clouds
First shower!
For under you the trees’ leaves
Will yet change their hues…[ii]

46[iii]


[i] KKS XV: 747: Narihira had been seeing a woman living in the western wing of the palace of the Gojō Empress, and loved her dearly. Shortly after the Tenth day of the First Month, she disappeared off to somewhere else and, though he found out where she was, he could not communicate with her. When Spring came and the plum blossom was in full bloom, on a night when the moon was especially beautiful, he was yearning for the love of the previous year and went back to the western wing and, until the moon was low in the sky, lay upon the bare boards; then he composed.

[ii] An allusive variation on KKS V: 260.

[iii] SKKS XII: 1087: On the conception of hidden love, when he held a poetry match in one hundred rounds at his house, while he was Major Captain of the Left.

SKKS XII: 1087

On the conception of hidden love, when he held a poetry match in one hundred rounds at his house, while he was Major Captain of the Left.

もらすなよ雲ゐるみねのはつしぐれ木葉は下にいろかはるとも

morasu na yo
kumo’iru mine no
hatsushigure
ko no ha wa shita ni
iro kawaru tomo
O, don’t drip down,
Peak-clinging clouds
First shower!
For under you the trees’ leaves
Will yet change their hues…[i]

The Regent and Grand Minister

A kuzushiji version of the poem's text.
Created with Soan.

[i] An allusive variation on KKS V: 260.

SKKS IV: 393

On flowering grasses before the moon, when he presented a Fifty Poem Sequence.

ふるさとのもとあらのこはぎさきしよりよなよな庭の月ぞうつろふ

furusato no
motoara no kohagi
sakishi yori
yonayona niwa no
tsuki zo utsurou
At my ancient home
Since the sparse bush clover
Bloomed,
Night after night upon the garden
Shines the moon![i]

The Regent and Palace Minister

A kuzushiji version of the poem's text.
Created with Soan.

[i] An allusive variation on KKS XIV: 694.

Jidai fudō uta’awase 22

Round Twenty-Two

Left

花にあかぬなげきはいつもせしかども今日のこよひににるときはなし

hana ni akanu
nageki wa itsumo
seshikadomo
kyō no koyoi ni
niru toki wa nashi
Blossoms without end
Ever were a grief
Indeed, yet,
This day’s night
Is like none other.

Lord Ariwara no Narihira
43[i]

Right

ふるさとのもとあらのこはぎさきしよりよなよな庭の月ぞうつろふ

furusato no
motoara no kohagi
sakishi yori
yonayona niwa no
tsuki zo utsurou
At my ancient home
Since the sparse bush clover
Bloomed,
Night after night upon the garden
Shines the moon![ii]

The Gokyōgoku Regent and Former Palace Minister
44[iii]


[i] SKKS II: 105: Topic unknown.

[ii] An allusive variation on KKS XIV: 694.

[iii] SKKS IV: 393: On flowering grasses before the moon, when he presented a Fifty Poem Sequence.

Jidai fudō uta’awase 21

Round Twenty-One

Left

あまのすむうらこぐふねのかぢをなみ世をうみわたる我ぞかなしき

ama no sumu
ura kogu fune no
kaji o nami
yo o umi wataru
ware zo kanashiki
The fisherfolk live
Within the bay, rowing boats;
Without oars
They are all at sea-how cruel the world
Where I am sunk in sadness.

41[i]

Right

ふじのねのけぶりもなほぞたちのぼるうへなき物はおもひなりけり

fuji no ne no
keburi mo nao zo
tachinoboru
ue naki mono wa
omoinarikeri
From the peak of Fuji
The smoke yet
Rises up, but
Nothing tops
The fires of my passion.[ii]

42[iii]


[i] GSS XV: 1090/1091: When she was sunk in gloomy thought, having no regular man.

[ii] An allusive variation on SIS XIV: 891.

[iii] SKKS XII: 1132: For the Poetry Contest in One Hundred Rounds, held at the Residence of the Regent and Palace Minister.

SKKS XII: 1132

For the Poetry Contest in One Hundred Rounds, held at the Residence of the Regent and Palace Minister.

ふじのねのけぶりもなほぞたちのぼるうへなき物はおもひなりけり

fuji no ne no
keburi mo nao zo
tachinoboru
ue naki mono wa
omoinarikeri
From the peak of Fuji
The smoke yet
Rises up, but
Nothing tops
The fires of my passion.[i]

Lord Ietaka

A kuzushiji version of the poem's text.
Created with Soan.

[i] An allusive variation on SIS XIV: 891.