Topic unknown.
ちる花をなにかうら見む世中にわが身もともにあらむものか
| tiru Fana wo nani uramimu yo no naka ni wa ga mi mo tomo ni aramu mono ka | Why, the scattered blossom Should I despise? For in this mundane world Will I, too, with it Endure? |
Anonymous
Tag Archives: world
KKS II: 98
Topic unknown.
花のごと世の常ならば過ぐしてし昔は又も帰りきなまし
| Fana no goto yo no tune naraba sugusitesi mukasi Fa mata mo kaFerikinamasi | Were the ever-cycling blossoms To be a model for this world, For the long-gone Past once more to Return – that’s what I would want. |
Anonymous
KKS II: 73
Topic unknown.
うつせみの世にも似たるか花ざくらさくと見しまにかつちりにけり
| utusemi no yo ni mo nitaru ka Fanazakura saku to misi ma ni katu tirinikeri | This cicada-shell World do you resemble, O, cherry blossom? The moment that I see you bloom Have you already scattered. |
Anonymous
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: 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.
MYS V: 793
A poem composed by Lord Ōtomo, Governor General of Dazai, on hearing some ill news.
世間は空しきものと知る時しいよよますます悲しかりけり
| yo no naka pa munasiki mono to siru toki si yoyo masumasu kanasikarikeri |
This world of ours Is a fragile thing, indeed – When I realise this Ever ever greater Is my sorrow! |
Ōtomo no Tabito
大伴旅人
Love VII: 15
Left.
最上河人の心の稲船もしばしばかりと聞かば頼まん
| mogamigawa hito no kokoro no inabune mo shibashi bakari to kikaba tanoman |
Upon Mogami River, Her heart is as A rice-boat; That but for a little while She will hear me, is all my longing. |
Lord Ari’ie
989
Right (Win).
飛鳥川淵瀬ひまなき世の中に人のつらさぞ變らざりける
| asukagawa fuchi se himanaki yo no naka ni hito no tsurasa zo kawarazarikeru |
On Asuka River The deeps and shallows have no rest; In this world of ours, Her cruelty Is unchanging. |
The Supernumerary Master of the Empress’ Household Office
990
The Right state: we have no criticisms to make of the Left’s poem. The Left state: we wonder about the Right’s use of ‘the deeps and shallows have no rest’ (fuchi se himanaki).
In judgement: ‘Mogami River’ appears to be technically accomplished, but the final section sounds excessive. The deeps and shallows of Asuka River, indeed, do change constantly. The final section, too, seems fine. Thus, the Right wins.
Sankashū III: 1508
[One of] ten personal laments.
捨てて後は紛れし方は覚えぬを心のみをは世にあらせける
| sutete nochi wa magireshi kata wa oboenu o kokoro nomi oba yo ni arasekeru |
Having been abandoned One sunk in insignificance Will not be remembered, and His spirit alone Appears in the world! |
Saigyō
西行
KYS VIII: 448
Composed gazing at the moon when there were baseless rumours about her.
如何にせむ歎の杜は茂けれど木の間の月の隱れなき世を
| ika ni semu nageki no mori Fa sigekeredo ko no ma no tuki no kakurenaki yo wo |
What am I to do? The sacred groves of Nageki with grief Grow lush, yet Between the trees, from the moon There is no hiding in this world. |
The Daughter of Tachibana no Toshimune
橘俊宗女
SIS VIII: 486
On the road to Hatsuse, and seeing Mount Miwa.
三輪の山印の杉はあり乍をしへし人はなくていく世ぞ
| miwa no yama sirusi no sugi Fa arinagara wosiesi Fito Fa nakute iku yo zo |
On Mount Miwa Cedars stand sentinel Still, yet The one who told me this Is no longer in this world… |
Kiyowara no Motosuke
清原元輔