わが恋はあまのはらとぶあしたづの雲ゐにのみや鳴きわたりなん
| wa ga koi wa ama no hara tobu ashitazu no kumoi ni nomi ya nakiwatarinan | My love is as Across the plains of Heaven soaring Cranes—is it Simply from within the clouds that They cry on? |
435
Tag Archives: ama
Kinkai wakashū 434
Kinkai wakashū 433
Kinkai wakashū 344
Naidaijin-ke uta’awase 10
Round Ten
Left (T – Tie)
波よする蜑の苫やのひまをあらみもるにてぞしるよはのしぐれは
| nami yosuru ama no tomaya no hima o arami moru nite zo shiru yowa no shigure wa | Waves break near A sedge-thatched hut’s Crude gaps The leaks reveal A midnight shower… |
Lord Tadafusa
19
Right (M – Win)
ゆふ月よいるさの山の高根よりはるかにめぐる初しぐれかな
| yūzukuyo irusa no yama no takane yori haruka ni meguru hatsushigure kana | On a moonlit night From Irusa Mountain’s High peak In the distance circles A first shower! |
Lord Kanemasa
20
Toshiyori states: in the first poem, the shower sounds chilly! A shower is not something that one hears after getting up at dawn, yet this poem says that one first gets to know about it from the leaks, it seems that the poet has gone to bed, been leaked on, had his garments soaked and then got up and made a fuss. If he has not been leaked upon is this something he heard from someone else the following day? It really is very unclear. There’s a poem ‘Together with me / On my mountain pilgrimage’ which refers to showers falling on this mountain. The poem here refers to the same peak, so it sounds as if it’s referring to monks going around. Is that what it’s about? I am not just finding fault for the sake of it—these poems are unclear. As there’s only so much that can be understood from hearing them, they should tie.
Mototoshi states: one can compose about a shower falling anywhere and there’s no need to bring up a fisherman’s sedge-thatch hut, is there! Furthermore, one gets to know about a shower from the sound of it falling constantly on something like a roof of cedar boards, surely? Would one really be startled by rain of varying intensity falling soundlessly in spring? As for the poem of the Right, while it does not display a playfulness which would please the eye, ‘In the distance circles / A first shower’ is a bit better in the current context.
Naidaijin-ke uta’awase 04
Round Four
Left (M – Win)
水鳥の青葉の山やいかならん梢をそむる今朝のしぐれに
| mizutori no aoba no yama ya ika naran kozue o somuru kesa no shigure ni | Waterfowl fly above Aoba Mountain— O, what is to become Of the treetops dyed By this morning’s shower? |
Lord Akinaka
7
Right (T – Win)
かきくもり蜑の小ぶねにふく苫の下とほるまで時雨れしにけり
| kakikumori ama no obune ni fuku toma no shita tōru made shigureshinikeri | Clouds rake in above The fisher’s tiny boat— Through its rush-woven roof And even beneath A shower has fallen. |
Lord Michitsune
8
Toshiyori states: Continuing on from ‘Waterfowl fly above / Aoba Mountain’ with ‘the treetops dyed’ is simple and straightforward. The latter poem’s emphasis on the fisher’s tiny boat is an unexpected expression, yet because it is not a fault, I make this poem the winner.
Mototoshi states: saying ‘Waterfowl fly above / Aoba Mountain’ is extremely hackneyed, yet the poem of the Right has ‘Clouds rake in above / The fisher’s tiny boat— / Through its rush-woven roof’: both spring showers and summer ones, too, are not things which fall constantly, so it is difficult to believe that they could fall ‘even beneath’. So, I have to determine that a shower dyeing the treetops is a little better.
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 65
Round Fifteen
Left
わかのうらとおもふばかりをたのみにてやどもさだめぬあまのこぞうき
| waka no ura to omou bakari o tanomi nite yado mo sadamenu ama no ko zo uki | At Waka Bay, for my youth Simply do I long; Relying on A homeless Son of fisherfolk is sad, indeed. |
Kyō
129
Right (Win)
すみよしのまつことなくていたづらにとしはつもりのうらみをぞする
| sumiyoshi no matsu koto nakute itazura ni toshi wa tsumori no urami o zo suru | At Sumiyoshi Pine I do not, but How quickly The years have laid Their despite upon me! |
Suehiro
130
The Left, while it does sound truly pitiful, truly could have had something in mind as an outcome of youth at Waka Bay. As for the Right, simply that ‘The years have laid / Their despite’ without pining, I know only too well, so I can say that the Right wins.
Sumiyoshi-sha uta’awase kaō ni-nen 62
Round Twelve
Left (Win)
ほのかにてあるかなきかにすぐるみやなみまにまがふあまのいさりび
| honoka nite aru ka naki ka ni suguru mi ya namima ni magau ama no isaribi | Faintly, Uncertain if I’m here or not Do I pass through? Entangled between the waves, A fisherman’s torch. |
Lord Suetsune
123
Right
すみよしのなをたのみこししるしありてかへるみやこにおもひいでもがな
| sumiyoshi no na o tanomikoshi shirushi arite kaeru miyako ni omoi’ide mogana | In Sumiyoshi’s Name did I place my trust— Had it some effect then On returning to the capital Happy memories, I would have! |
Takanobu
124
The Left appears to have pleasant configuration and diction, saying ‘Entangled between the waves, / A fisherman’s torch’. Using ‘faintly’ and then concluding with ‘fisherman’s torch’ is extremely charming, but I do wonder about describing a person’s passage through the world as ‘faint’. The Right sounds elegant in style, but saying, ‘On returning to the capital / Happy memories, I would have!’ could be saying that the memories are of the return to the capital itself, and I don’t feel this matches with the initial part of the poem. In addition, is the conception of wanting the deity’s aid for the return? This sounds rather capricious. The Left has a pleasant configuration, and thus it should win.
Sumiyoshi-sha uta’awase kaō ni-nen 33
Round Eight
Left
しぐれもるかりいほにぬれてほすころもながゐのあまはとりやたがへむ
| shigure moru kari’io ni nurete hosu koromo nagai no ama wa tori ya tagaemu | Drenched by showers, In my crude hut my soaked Robe I dry— Might a fisherman from Nagai Take it by mistake? |
Koretsuna
65
Right (Win)
ひとりねのあはれひまなきたびごろもしぐれはれてもそではぬれけり
| hitorine no aware himanaki tabigoromo shigure haretemo sode wa nurekeri | Sleeping solo with No break from my sorrow, My traveller’s robe, Even should the showers clear, Would have soaking sleeves… |
Suesada
66
The configuration of the Left is extremely charming, but I do wonder about starting with a sorrowful journey in the showers and then taking a robe by mistake! The conception of the Right, starting with endless sorrow and then saying, ‘even should the showers clear’, seems pleasant. It seems that the Right wins.
