おもかげに色のみのこる桜花いく世の春をこひむとすらん
| omokage ni iro nomi nokoru sakurabana ikuyo no haru wo koFimu to suran | Of her face Only your hue remains, O, cherry blossom— For how many ages’ springtimes Will I yearn for her so? |
Taira no Kanemori
Tag Archives: omokage
Kinkai wakashū 609
Around autumn, when someone with whom I had been accustomed to speaking had gone somewhere, I took the opportunity to send these by messenger.
うはの空にみし面影をおもひいでて月になれにし秋ぞ恋しき
| uwa no sora ni mishi omokage o omoi’idete tsuki ni narenishi aki zo koishiki | In the heavens’ heights The face that once I saw I do recall, and Accustomed to the moon In autumn do I yearn even more…[i] |
609
[i] See: On the conception of ‘love, having once met, but no longer’ for the Poetry Match held at the Poetry Office. ゆめかとよみし面影もちぎりしもわすれずながらうつつならねば yume ka to yo / mishi omokage mo / chigiri shi mo / wasurezu nagara / utsutsu naraneba ‘Was it a dream? Or not? / That face I saw, and / His promises, too, / I cannot forget, / Though real they were not…’ The Daughter of Toshinari, Assistant Master of the Dowager Empress Household Office (Shinkokinshū XV: 1391)
SKKS XV: 1391
On the conception of ‘love, having once met, but no longer’ for the Poetry Match held at the Poetry Office.
ゆめかとよみし面影もちぎりしもわすれずながらうつつならねば
| yume ka to yo mishi omokage mo chigiri shi mo wasurezu nagara utsutsu naraneba | Was it a dream? Or not? That face I saw, and His promises, too, I cannot forget, Though real they were not… |
The Daughter of Toshinari, Assistant Master of the Dowager Empress Household Office
Yōzei’in miko futari uta’awase 07
Left
めをさめてひまよりつきをながむればおもかげにのみきみぞみえける
| me o samete hima yori tsuki o nagamureba omokage ni nomi kimi zo miekeru | Opening my eyes, Through the gaps upon the moon Have I turned my gaze, for Only in its shape Can I get a glimpse of you! |
13
Right
ゆめのうちにこひしきひとのみえつればあはれをますはねざめなりけり
| yume no uchi ni koishiki hito no mietsureba aware o masu wa nezame narikeri | Within my dreams My darling girl Was I able to see, so What increases my sadness most But waking. |
14
Yōzei’in miko futari uta’awase 05
Left
いをしねばゆめにもひとをみるべきをよなよなさむるめこそつらけれ
| i o shi neba yume ni mo hito o mirubeki o yonayona samuru me koso tsurakere | When I’m deep in sleep Even in my dreams, too, her I can behold, but Waking, night after night, Is cruel to my eyes, indeed! |
9
Right
こひわびてこころまどへるねざめにはおもかげをだにあふとたのまむ
| koiwabite kokoro madoeru nezame ni wa omokage o dani au to tanomamu | Desolate with love, My heart just wanders lost; On waking, Even an image of you To meet is all I would ask. |
10
Love IX: 13
Left (Win)
主やたれ見ぬ世の色を写しをく筆のすさびにうかぶ面影
| nushi ya tare minu yo no iro o utsushioku fude no susabi ni ukabu omokage |
Who painted you? Unseen in this present world, hues, Reflected by A comforting brush, Bring her visage before me… |
Lord Sada’ie
1105
Right
水茎の跡に堰きをく瀧津瀬をまことに落とすわが涙かな
| mizukuki no ato ni sekioku taki tsu se o makoto ni otosu wa ga namida kana |
Faint brush-strokes Traces place a barrier, but A cataract in torrents Truly drops – My tears… |
Jakuren
1106
The Right state: the Left’s poem is rather casual about the person whom he loves. The Left state: the Right’s poem has no faults we can identify.
In judgement: the Gentlemen of the Right have stated that the Left seems somewhat blasé about the object of his affections, and this is certainly true. The Right’s poem, though, says that the poet is looking at a painting on something like a folding screen, where a waterfall is depicted, and he weeps in reality – this seems like he was simply moved by the painting. I feel that there is a stronger conception of love in seeing a painting and fondly recalling the face of one now long gone, than there is in being moved by the sight of a mountain stream.
Love VIII: 17
Left
山鳥のはつおの鏡掛けねども見し面影に音は泣かれけり
| yamadori no hatsuo no kagami kakenedomo mishi omokage ni ne wa nakarekeri |
A mountain pheasant’s Tail of hempen cord this mirror Does not suspend, yet The face I saw there once Makes me weep out loud… |
Kenshō
1053
Right (Win)
面影をほの三嶋野に尋ぬれば行衛知られぬ鵙の草ぐき
| omokage o hono mishimano ni tazunureba yukue shirarenu mozu no kusaguki |
Her face I did but briefly see at Mishimano When I visited there; I know not where has gone The shrike hiding in the grasses. |
Lord Takanobu
1054
The Gentlemen of the Right state: the Left’s poem has no faults to mention. The Gentlemen of the Left state: we wonder about the appropriateness of combining ‘Mishima Plain’ (mishimano) with ‘the shrike hiding in the grasses (mozu no kusaguki). Is there a poem as a precedent for this? If not, is it suitable?
In judgement: both poems have the conception of love: of imagining the pheasant and his mirror, and weeping at the memory of a lover’s face; and thinking of the shrike hiding in the grasses, visiting Mishima Plain, and recalling the past. However, what should we do about the matter of whether there is a precedent poem for ‘the shrike hiding in the grasses’ on Mishima Plain? Surely, it could be any plain, so there is no reason not to use this. The configuration of ‘I know not where has gone’ (yukue shirarenu) sounds better than that of ‘makes me weep out loud’ (ne wa nakarekeri). The Right, again, must win, I think.
Love VII: 24
Left (Tie).
故郷に見し面影も宿りけり不破の関屋の板間洩る月
| furusato ni mishi omokage mo yadorikeri fuwa no sekiya no itama moru tsuki |
Back home I saw her face, and It lodges here, At the Barrier House at Fuwa, In the moonlight leaking through the boards. |
A Servant Girl
1007
Right.
人恋ふる我ながめよ思けり須磨の関屋の有明の月
| hito kouru ware nagameyo omoikeri suma no sekiya no ariake no tsuki |
Loving you, I will ever gaze, I thought, At the Barrier House at Suma On the dawntime moon. |
Nobusada
1008
The Right state: the Left’s poem is good. The Left state: the Right’s poem lacks any faults to indicate.
In judgement: the Left’s ‘Barrier House at Fuwa’ (fuwa no sekiya) followed by ‘the moonlight leaking through the boards’ (itama moru tsuki) is truly charming. In addition, if one wonders why ‘I saw her face’ (mishi omokage mo) has been used, it is certainly reminiscent of the poem ‘The dawntime moon, too, lodges in the waters clear’, but an improvement on it. It is difficult to say, however, that the Right’s ‘At the Barrier House at Suma on the dawntime moon’ (suma no sekiya no ariake no tsuki) is in any way inferior.