Tag Archives: shore

Sumiyoshi-sha uta’awase kaō ni-nen 59

Round Nine

Left

いとふともなきものゆゑによのなかのあはれをさすがうちなげきつつ

itou tomo
naki mono yue ni
yo no naka no
aware o sasu ga
uchinagekitsutsu
With despite I regard it not, yet
This mundane world
Has such sadness, that
Ever am
I grief-stricken…

Lord Sanefusa
117

Right (Win)

いたづらにとしもつもりのうらにおふるまつぞわがみのたぐひなりける

itazura ni
toshi mo tsumori no
ura ni ouru
matsu zo wa ga mi no
tagui narikeru
How quickly
The years have piled up; on Tsumori
Shore grow
Pines – my sorry self, indeed,
Do they resemble!

Lord Yorimasa
118

The poem of the Left has a configuration which directly expresses a single emotion. Its conception sounds in keeping with this. The poem of the Right begins with ‘The years have piled up; on Tsumori / Shore grow’ and continues with ‘Pines – my sorry self, indeed’ which appears very pleasant. Thus, the Right wins.

Sumiyoshi-sha uta’awase kaō ni-nen 34

Round Nine

Left (Win)

うらさむくしぐるるよはのたびごろもきしのはにふにいたくにほひぬ

ura samuku
shigururu yowa no
tabigoromo
kishi no hanyū ni
itaku nioinu
The bay is cold with
Midnight showers, as
My traveller’s robe
With the shore’s ochre clay
Is deeply stained.

Taifu
67

Right

おもへただみやこのうちのねざめだにしぐるるそらはあはれならずや

omoe tada
miyako no uchi no
nezame dani
shigururu sora wa
aware narazu ya
Simply think of me, when
Within the capital
You start from sleep—
A showery sky is
Sad, isn’t it?

Sadanaga
68

While configuration of the Left’s poem, saying ‘With the shore’s ochre clay / Is deeply stained’ feels crude, it does appear to be in the style of the Myriad Leaves. As for the Right’s poem, its conception is good, but starting, ‘Simply think of me’ begs the question of who this is said to. Such diction is used in poetry exchanges or love poems, in particular. The Left’s poem is most likely superior.

Sumiyoshi-sha uta’awase kaō ni-nen 23

Left (Tie)

すみよしのきしうつなみにてる月はこかげもあかしまつのむらだち

sumiyoshi no
kishi utsu nami ni
teru tsuki wa
kokage mo akashi
matsu no muradachi
At Sumiyoshi
Upon the waves, striking the shore,
Shines the moon—
The shadows of the trees are bright
Among the crowding pines.

Chūnagon, in service to the Former Ise Virgin[1]
45

Right

としふりてかみさびにけるすみのえのきしのたまもをみがく月かげ

toshi furite
kamisabinikeru
suminoe no
kishi no tamamo o
migaku tsukikage
Ancient in years is
The dread
Suminoe
Shore, where gemweed
Is polished by the moonlight.

Novice Sokaku[2]
46

The Left’s poem has a truly charming conception, with ‘Upon the waves, striking the shore, / Shines the moon’ reflecting and making the pines’ shadows shine. However, what are we to make of the use of ‘bright’ here? My late master once stated that he had too often heard such diction being used. The poem of the right appears to have pleasant configuration and diction, but, while it is only natural to say that the Suminoe’s shore is dread, I wonder about the appropriateness of going so far as to say that gemweed is? It’s going a bit far, I think, to bring in ‘gemweed’ simply to link it to ‘polish’. Nevertheless, the configuration of the poem appears pleasant, so I call this a tie.


[1] Zen-saigū no Chūnagon前斎宮中納言

[2] Shami Sokaku沙弥素覚

Sumiyoshi-sha uta’awase kaō ni-nen 08

Round Eight

Left (Win)

すみよしのまつふくかぜのおとさえてうらさびしくもすめる月かな

sumiyoshi no
matsu fuku kaze no
oto saete
ura sabishiku mo
sumeru tsuki kana
At Sumiyoshi
The wind gusting through the pines
Sounds so chill, as
Sad and lonely above the shore
Clear is the moon!

Lord Taira no Tsunemori
Director of the Bureau of Palace Storehouses
Assistant Master of the Dowager Empress’ Household Office
Exalted Senior Fourth Rank, Lower Grade[1]
15

Right

やはらぐるひかりや月にそへつらむしめのうちにはてりまさりけり

yawaraguru
hikari ya tsuki ni
soetsuramu
shime no uchi ni wa
terimasarikeri
Has the God dimmed
His light, that the moon,
Seems to drift across, and
Within the sacred bounds
Shine brightest of all?

Lord Fujiwara no Yorisuke
Junior Fourth Rank, Upper Grade[2]
16

The configuration and diction of the poem of the Left are easily grasped and seem to be filled with lonely sadness. The Right’s conception, in turn, expresses the essential essence of the moon over a shrine. However, I do feel that ‘the moon, / Seems to drift across’ is somewhat insufficient. In addition, the Left’s tone sounds strikingly superior, and thus it wins.


[1] Shōyon’ige-gyō kura no kami ken taikōtaigōgū no suke Taira ason Tsunemori 正四位下行内蔵頭兼太皇太后宮亮平朝臣経盛

[2] Jūyon’ijō Fujiwara ason Yorisuke 従四位上藤原朝臣頼輔

Dairi kiku awase 02

あきすぎてはなざかりなるきくのはないろにたぐひてあきやかへれる

aki sugite
hanazakari naru
kiku no hana
iro ni taguite
aki ya kaereru
Autumn is past and
The flowers richly blooming are
Chrysanthemums:
With their hues
Autumn does return!

Korenori
3

なみとのみうちこそみゆれすみのえのきしにのこれるしらぎくのはな

nami to nomi
uchi koso miyure
suminoe no
kishi ni nokoreru
shiragiku no hana
Simply as waves
Do they, indeed, appear!
At Suminoe
Lingering on the shore
White chrysanthemum blooms.

Korenori
4

Kinkai wakashū 110

Composed to accompany a picture on a folding screen of a traveller at the Bay of Tako, picking wisteria blooms.

たこのうらの岸の藤なみ立ちかへりをらではゆかじ袖はぬるとも

tako no ura no
kishi no fujinami
tachikaeri
orade wa yukaji
sode wa nuru tomo
At the Bay of Tako
Upon the shore wisteria waves
Break, returning
Never would I go without picking them
Though it wet my sleeves.
A kuzushiji version of the poem's text.
Created with Soan.

KKS XII: 559

A poem from the Poetry Contest held by the Empress Dowager during the Reign of the Kanpyō Emperor.

住の江のきしによる波夜さへや夢のかよひ路人めよくらむ

suminoe no
kisi ni yoru nami
yoru saFe ya
yume no kayoFidi
Fitome yokuramu
On Suminoe’s
Shore break waves;
Even at night
Upon the path of dreams
Can we avoid others’ prying eyes?

Lord Fujiwara no Toshiyuki

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