かもめゐるあら磯のすさき塩みちてかくろひゆけばまさるわが恋
| kamome iru ara’iso no susaki shio michite kakuroiyukeba masaru wa ga koi | Seagulls dwell Along the rocky shore where sandbars With the rising tide Are hidden away, then Most intense is my love. |
445
Tag Archives: shio
Daigo ōntoki kiku awase 12
おくしものかひもあるべくきくのはないろをましてもかれずもあるかな
| oku shimo no kai mo arubeku kiku no hana iro o mashite mo karezu mo aru kana | The falling frost, too, Has some point to it, for The chrysanthemum blooms: Have hues that, remarkably Have not withered away! |
Yoshitaka[1]
23
きくのはなをしむかひしていろこきはいくしほ霜のおきてそめしぞ
| kiku no hana oshimu kaishite iro koki wa iku shio shimo no okite someshi zo | O, chrysanthemum blooms! There is a point to my regret, for Your depth of hue By how many dippings in frost Fall has been dyed? |
Sukuru[2]
24
[1] Possibly Minamoto no Yoshitaka 源嘉生
[2] Possibly Minamoto no Suguru 源俊
Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 26
Round Two
Left (Win)
松浦ぶねあかしのしほに漕ぎとめよこよひの月はここにてをみむ
| matsurabune akashi no shio ni kogitomeyo koyoi no tsuki wa koko nite o mimu | O, boat from Matsura, Upon the tides of Akashi, Halt your rowing! For tonight, the moon I would gaze upon from there… |
Lord Tsunemori
51
Right
月影のさえゆくままにおく霜をおもひもあへず鐘やなるらん
| tsukikage no saeyuku mama ni oku shimo o omoi mo aezu kane ya naruran | While the moonlight Is so chill, Is it of the falling frost Quite heedless that The bells are tolling? |
Tōren
52
I wonder if the Right’s conception is that of the bells of Fengling? It appears to be said of them that they ‘rang of their own accord when frost fell’, or something like that. Hence, in the Cathay-style poem with the topic ‘the autumn moon seeming to be frost at night’ there is also the line ‘wouldn’t you have it make the Fengling bells ring out together?’ Here, our moonlight is being thought to be frost, and the bells are tolling in response to it. But, as bells are inanimate objects, it does not seem feasible to think that they would toll upon seeing frost. Thus, saying that they would view the moonlight as frost and heedlessly toll, is odd, I have to say. As for the Left, while there is no clear reason for the initial line, the remainder seems reasonable, and so I feel this should win.
Entō ōn’uta’awase 02
Round Two
Left (Tie)
大はらやをしほの里の朝霞ゆききになれし春ぞ忘れぬ
| ōhara ya oshio no sato no asagasumi yukiki ni nareshi haru zo wasurenu | In Ōhara At Oshio estate among The morning haze Accustomed to go back and forth, Never will I forget that springtime! |
The Former Minister of the Centre
3
Right
浦人のしほやく里のあさ霞春の物とやわかでみるらん
| urabito no shio yaku sato no asagasumi haru no mono to ya wakade miruran | Folk dwelling by the bay Roasting salt in their village: The morning haze From a scene in spring ‘tis Hard to distinguish, is it not?[1] |
Kozaishō
4
The Left’s poem composes ‘Oshio estate among the morning haze accustomed to go back and forth’ and, in addition to seeming to have some feeling in it, displays fine configuration and diction, while the Right’s poem ‘From as scene in spring ‘tis hard to distinguish, is it not?’ recollects Narihira’s poem ‘a scene from spring: ever-falling rain to gaze upon all day’ and has a gentle air about it, so both are difficult to distinguish from each other. I make this a tie.
[1] An allusive variation on KKS XIII: 616.
KKS XV: 758
Topic unknown.
すまのあまのしほやき衣をさをあらみまどほにあれや君がきまさぬ
| suma no ama no siFoyaki koromo wo sa wo arami madoFo ni are ya kimi ga kimasanu | The fisher folk at Suma Burn salt in robes So crudely woven – The gaps as wide as Your infrequent visits. |
Anonymous
KKS XVII: 894
Topic unknown.
をしてるやなにはのみつにやくしほのからくも我はおいにけるかな
| wositeru ya naniFa no mitu ni yaku siFo no karaku mo ware Fa oinikeru kana | Brightly shining is Naniwa harbour where Burning salt is Dried hard for me to have Grown old! |
An alternate version is:
おほとものみつのはまべに
| oFotomo no mitu no Famabe ni | In Ōtomo On the harbour beachside |
Anonymous
Hon’in sadaijin-ke uta’awase 05
Orchids
Left
おぼつかなあきくるごとにふぢばかまたがためにとかつゆのそむらん
| obotsukana aki kuru goto ni fujibakama ta ga tame ni toka tsuyu no somuran | How strange, that Whenever autumn comes Grow orchids— For whose sake, I wonder, Does the dewfall dye them? |
9
Right
おくしもにいくしほそめてふぢばかまいまはかぎりとさきはじむらん
| oku shimo ni iku shio somete fujibakama ima wa kagiri to sakihajimuran | The dewfall with Many dippings dyes The orchids— Now that all is done Might they begin to bloom. |
10
Horikawa-in Enjo Awase 25
Kanpyō no ōntoki chūgū uta’awase 7
Autumn
Round Seven
Left
秋山はからくれなゐに成りにけりいくしほしぐれふりてそめけん
| akiyama wa karakurenai ni narinikeri iku shio shigure furite someken | The autumn mountains To Cathay scarlet Have turned; How many dippings with drizzle Have fallen to dye them so? |
13[1]
Right (Win)
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 sayaka ni mienedomo kaze no oto ni zo odorokarenuru | That autumn has come With my eyes, clearly, I cannot see, yet The sound of the wind Has startled me. |
Fujiwara no Toshiyuki 14[2]
[1] Shokugosenshū VII: 429
[2] This poem was particularly highly evaluated and so is included in numerous other anthologies (Kokin rokujō I: 125), exemplary collections (Shinsen waka 2) and senka awase – contests assembled from prior poems (Shunzei sanjū roku nin uta’awase 61; Jidai fudō uta’awase 49).
GYS VI: 918
Composed on plovers.
沖つ潮指出の磯の浜千鳥風寒からし夜半に友呼ぶ
| oki tsu shio sashide no iso no hama chidori kaze samukarashi yowa ni tomo yobu | From the offing the tides Strike the shore at Sashide; On the beach plovers, Chilled by the wind Call for their mates at midnight. |
Supernumerary Middle Counsellor [Fujiwara no] Nagakata (1139-1191)
藤原長方
