よをさむみ浦の松風吹きむすびむしあけの波に千鳥なくなり
| yo o samumi ura no matsukaze fukimusubi mushiake no nami ni chidori nakunari | So cold the night, that The pinewinds on the shore are Choked in their blowing, as Upon the waves at Mushiake The plovers cry. |
354
Tag Archives: shore
Kinkai wakashū 345
Sumiyoshi-sha uta’awase kaō ni-nen 70
Round Twenty
Left (Tie)
みのうさをわすれぐさこそきしにおふれむべすみよしとあまもいひけれ
| mi no usa o wasuregusa koso kishi ni oure mube sumiyoshi to ama mo iikere | The misery of my life I forget among the day lilies Growing on the shore— No wonder, Sumiyoshi is a pleasant place Say the fisherfolk, too! |
Kunisuke
139
Right
よをわたるみちをたがへてまどふかないづれのかたにゆきかくれまし
| yo o wataru michi o tagaete madou kana izure no kata ni yukikakuremashi | Passing through this world My path I have mistaken and Lost become! Which way should I go to hide myself away? |
Horikawa
140
The Left has the poem ‘For folk forget among the day lilies / Growing there, or so they say.’[1] in mind and its conception, drawing upon ‘The misery of my life’ is pleasant, I have to say. The Right has a charming configuration for such a poem, but its similarity to the poem by Lord Toshiyori, ‘Deep in depression on Mount Wabuka / On my path through the world / Have I mis-stepped’[2] means that I feel it sounds hackneyed, yet the final section ‘Which way should I’ and what follows, does sound moving. I should say that these tie.
[1] Composed and sent to someone he knew who had gone to Sumiyoshi. 住吉とあまはつぐともながゐすな人忘草おふといふなり sumiyoshi to / ama wa tsugu tomo / nagai su na / hito wasuregusa / ou to iu nari ‘Sumiyoshi is a pleasant place to stay, / So say the fisher-folk, yet / Do not stay there long, in Nagai; / For folk forget among the day lilies / Growing there, or so they say.’ Mibu no Tadamine (KKS XVII: 917)
[2] [One of] a hundred poem sequence on feeling regret and shame over one’s fate. わぶか山よにふるみちをふみたがへまどひつたよふ身をいかにせん wabukayama / yo ni furu michi o / fumitagae / madoitsu tayou / mi o ika ni sen ‘Deep in depression on Mount Wabuka / On my path through the world / Have I mis-stepped, and / Wandering lost, / O, what am I to do?’Minamoto no Toshiyori (Sanboku kikashū 1427)
Sumiyoshi-sha uta’awase kaō ni-nen 68
Round Eighteen
Left (Tie)
すみよしのきしかたのよにひきかへてはなさくまつのみともならばや
| sumiyoshi no kishikata no yo ni hikikaete hana saku matsu no mi tomo naraba ya | On Sumiyoshi’s Shore, for the coming world I would exchange— Waiting for blossom to bloom upon the pines— Myself, that’s what I long for… |
Koretsuna
135
Right
たのみこしかみのしるしにうきよをもすみよしとだにおもひなりせば
| tanomikoshi kami no shirushi ni ukiyo o mo sumiyoshi to dani omoinariseba | I have come to rely On a sign from the God, That this cruel world, too, Even become a pleasant place to dwell— Or so I have come to think… |
Suesada
136
Both the Left and Right this round only appear skilled in their use of diction. The poem on blossom probably needs a little more work, I think, but they really are about the same.
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.
Kinkai wakashū 282
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
KKS XVII: 906
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