Tag Archives: beach

Love VII: 8

Left (Tie).
わたの原沖つ潮風に立つ浪の寄り來やかかる汀なりとも

wata no hara
oki tsu nami ni
tatsu nami no
yoriko ya kakaru
migiwa naritomo
Across the broad sea sweep,
The waves from the offing,
The breakers:
So I would have you come to me,
Though I be such a shore…

Lord Ari’ie.
975

Right.
わたの原深き契りや渚なるかたし貝ともなりにける哉

wata no hara
fukaki ya chigiri
nagisa naru
katashigai tomo
narinikeru kana
The broad sea sweep’s
Depths: did our vow match them?
Upon the beach lie
Single seashells:
That is what we have become!

Lord Tsune’ie.
976

The Right state: we are unable to appreciate the Left’s poem. The Left state: as are we the Right’s poem.

In judgement: the Left’s poem would seem to be an improved example of a poem in the style of the previous round. That being said, the waves wouldn’t not come, would they? And, what is the point in addressing them so? The Right’s poem has an extremely flippant final section. The poems are comparable and should tie.

KYS III: 216

Composed when he was asked by people in the capital what the moon had been like, when he had returned there, after going to Akashi to gaze upon it, at a time when it was particularly bright.

有明の月もあかしの浦風に波ばかりこそよるとみえしか

ariake no
tuki mo akasi no
urakaze ni
nami bakari koso
yoru to miesika
The dawntime
Moon’s brightness, with Akashi’s
Beach breezes
Simply with the waves
Did seem to draw near with the night…

Taira no Tadamori
平忠盛

MYS II: 141

Two poems composed by Prince Arima, on feeling sorrowful and tying the branches of a pine tree together.

磐白の浜松が枝を引き結びま幸くあらばまた帰り見む

ipasiro no
pamamatu ga e wo
pikimusubi
masakiku araba
kaperimimu
At Iwashiro,
A beach-pine’s branches
I draw and bind together;
If fortune favours me,
I’ll return to see them once more…

Prince Arima
有間皇子

SIS IX: 552

In the Tenryaku period, when the Ichijō Regent [Fujiwara no Koretada] was Head Chamberlain, His Majesty lost his belt to him while playing go. The games continued, and Koretada’s losses mounted, so His Majesty composed this poem to ask for the return of his belt.

白浪の打ちやかへすと待つほどに浜の真砂の数ぞ積もれる

siranami no
uti ya kaFesu to
matu Fodo ni
Fama no masago no
kazu zo tumoreru
Wondering when the whitecaps
Will return, and
While waiting
The grains of sand upon the beach
Increase in number!

Emperor Murakami

SZS XVIII: 1166

Composed in the conception of travel, when he presented a hundred poem sequence.

東路の野島が埼の浜風に我が紐ゆひし妹がかほのみ面影に見ゆ

azumadi no
nozima ga saki no
Famakaze ni
wa ga Fimo yuFisi
imo ga kaFo nomi
omokage ni miyu
On Eastern roads
At Nojima Point
In the breeze from off the beach:
My belt was tied
By my darling, her face,
A vision, appears before me…

Master of the Left Capital Office, Akisuke
左京大夫顕輔

Love IV: 13

Left.
物思へばひま行く駒も忘られてくらす涙を先おさふらん

mono’omoeba
hima yuku koma mo
wasurarete
kurasu namida o
mazu osauran
Sunk in gloomy thought,
That the hours had flown so fast
I did forget;
First, the tears shadowing my sight
I should suppress…

A Servant Girl.
805

Right (Win).
人知れぬ戀忘れ貝拾ひかね塩の干る間も袖は濡れけり

hito shirenu
koi wasuregai
hiroikane
shio no hiru ma mo
sode wa nurekeri
Unknown to all is
My love, and a forgotten mussel shell
I could not find, so
Even when the beach is daytime dry
My sleeves are soaked.

The Provisional Master of the Empress’ Household Office.
806

The Right state: while ‘shadowed’ (kakikurasu) is a normal turn of phrase, we find ‘tears shadowing my sight’ (kurasu namida) to be unsatisfactory. The Left state: we wonder about the appropriateness of using shio no hiru ma alone for a play on words with hiru.

In judgement: The Left’s ‘That the hours had flown so fast I did forget’ (hima yuku koma mo wasurarete) gives the impression that the conception of the poem ought to be of waiting for dusk, but ‘First, the tears shadowing my sight I should suppress’ (kurasu namida o mazu osauran) seems to be something entirely different. As for the Right’s ‘Even when the beach is daytime dry my sleeves are soaked’ (shio no hiru ma mo sode wa nurekeri), I ask you, how can you think daytime isn’t a part of the phrase? The Right must win.