Composed on the conception of Lingering Cold.
衣手のうすきや冬のせきならんわが身はいとどしみこほりつつ
| koromode no usuki ya fuyu no seki naran wa ga mi wa itodo shimikōritsutsu | Do my sleeves, So scanty, winter’s Barrier gate mark? My flesh is still so Pierced with icy chills! |
Tag Archives: koromode
Eikyū hyakushu 441
Love as a Month Passes 経月恋
衣手もくちはてぬべしあふことの月をへだててとはぬうらみに
| koromode mo kuchihatenubeshi au koto no tsuki o hedatete towanu urami ni | Even my sleeves Must have rotted all away! For we met and then A month has passed Without a word – how I hate you for it! |
Higo
Eikyū hyakushu 437
Love as a Month Passes 経月恋
衣手もなかにはしばしおかざりき月をへだつる君やなになり
| koromode mo naka ni wa shibashi okazariki tsuki o hedatsuru kimi wa nani nari | Even upon my sleeves, or Within, has it for a while Not come to rest: That moon – while it has interfered What of you, my love? |
Nakazane
Eikyū hyakushu 10
Lingering Cold
衣手のうすきや春の関ならん我が身はいとどしみこほりつつ
| koromode no usuki ya haru no seki naran wa ga mi wa itodo shimikōritsutsu | Do my sleeves, So scanty, spring’s Barrier-gate mark? My flesh is still so Pierced with icy chills! |
Toshiyori
Love X: 14
Left (Win)
我恋はあまのさかてを打ち返し思ときてや世をも恨みん
| wa ga koi wa ama no sakate o uchikaeshi omoi tokite ya yo o mo uramin | My love: With my diver girl’s hands raised to heaven I cast back Knowing of these pains of love The world is all despair! |
Lord Kanemune
1167
Right
衣手はしほたるれどもみるめをばかづかぬ海人となりにけるかな
| koromode wa shiotaruredomo mirume o ba kazukanu ama to narinikeru kana | Though my sleeves Are drenched, as Unable to catch a glimpse of seaweed Like a hapless diver-girl Have I become. |
Lord Tsune’ie
1168
The Right state: there are various possible interpretations for ama no sakate. In addition, is it appropriate to compose a poem from the diver-girl’s perspective? The Left state: there is nothing to mention in the Right’s poem.
In judgement: the Left’s ama no sakate is not a particularly good expression, but I see no fault in composing from the diver-girl’s perspective. In recent times, people have come up with alternate interpretations for the phrase, but I see no reason for them. This old fool long ago composed a poem in this way. So I wonder, should I criticise my own composition? There is evidence for this in the Tales of Ise, and other texts, too. However, in poetry competitions, ama no sakate fails to sound appropriate. The Right’s diver-girl with sleeves drenched by the tide and unable to harvest seaweed seems incapable. She cannot be a genuine diver-girl. The Left’s sakate is not that elegant, but the girl is genuine. It wins.
Love IX: 22
Left (Tie)
恋そめし思ひの妻の色ぞそれ見にしむ春の花の衣手
| koisomeshi omoi no tsuma no iro zo sore mi ni shimu haru no hana no koromode |
The first flush of love’s Scarlet passion for her: A hue that Stains the flesh, as spring’s Blossoms do the sleeves… |
Lord Sada’ie
1123
Right
飽かざりしそのうつり香は唐衣恋をすすむる妻にぞ有りける
| akazarishi sono utsurika wa karakoromo koi o susumuru tsuma ni zo arikeru |
I cannot get enough of Her scent transferred to My Cathay robe: Love for her begins With a skirt! |
The Supernumerary Master of the Empress’ Household Office
1124
The Right state: both the conception and diction of the Left’s poem are unclear. The Left state: the Right’s poem, in addition to being commonplace, has ‘begins’ (susumuru) which is unimpressive.
In judgement: in the Left’s poem, while ‘blossoms do the sleeves’ (hana no koromode) is evocative, ‘a hue that’ (iro zo sore) is certainly extremely difficult to understand. In the Right’s poem, both ‘Cathay robe’ (karakoromo) and ‘with a skirt’ (tsuma ni zo arikeru) seem elegant, but I wonder about the impression of ‘her scent transferred’ (sono utsurika) and ‘begins’. It is unclear which poem is superior or inferior, so the round should tie.
Love VII: 19
Left.
逢ふ事は苗代水を引き止めて通しはてぬや小山田の關
| au koto wa nawashiro mizu o hikitomete tōshihatenu ya oyamada no seki |
Can a meeting, like The waters round the rice seedlings Be stopped In their endless flow Past the Oyamada Barrier? |
Kenshō
997
Right (Win).
衣手は清見が關にあらねども絶ゆるよもなき涙也けり
| koromode wa kiyomi ga seki ni aranedomo tayuru yo mo naki namida narikeri |
My sleeves as The Barrier at Kiyomi Are not, yet Without cease Are my tears… |
Lord Tsune’ie.
998
The Right state: we are unfamiliar with the expression ‘Oyamada Barrier’ (oyamada no seki). The Left state: it sounds as if it is tears that are ceaseless at the Barrier at Kiyomi.
In judgement: the Left’s poem is stylistically tasteful, but with only ‘can a meeting, like the waters round the rice seedlings’ (au koto wa nawashiro mizu) the conception of love is weak is it not? The Right’s poem metaphorically has tears ceaseless at the Barrier at Kiyomi, and with the ta present, I accept the Left’s point to a certain extent, but this type of thing is not unusual in metaphorical poems. In addition, there is little reason to imagine the waters round the rice-seedlings being blocked. As it has a stronger focus on Love, the Right wins.
Eikyū hyakushu 216
Lingering Heat (残暑)
秋風の荻の葉はわくるおとはしてまだころもでのあつくも有るかな
| akikaze no ogi no ha wakuru oto wa shite mada koromode no atsuku mo aru kana | The autumn breeze Parting fronds of silver grass I hear; Yet my sleeves Are heavy with heat… |
Higo
Sanboku kikashū II: 315
衣手もやや肌寒し夏の夜の月の光は秋の空かは
| koromode mo yaya Fadasamusi natu no yo no tuki no Fikari Fa aki no sora ka Fa |
Even my sleeves Are slightly chill; On a summer night The moon’s light Recollects the autumn sky… |
Minamoto no Shunrai
源俊頼
MYS X: 2165
On frogs.
上つ瀬にかはづ妻呼ぶ夕されば衣手寒み妻まかむとか
| kami tu se ni kapadu tuma yobu yupusareba koromode samumi tuma makamu to ka |
In the rapids upstream A frog cries for a mate, When the evening comes, How chill the sleeves – Maybe he would be with her swiftly! |
Anonymous